V 


SACRED  PRAISE: 


AN  EARNEST  APPEAL 


CHRISTIAN  WORSHIPERS, 


BEHALF  OF  A  NEGLECTED  DUTY. 


BY/ 

THOMAS  HASTINGS, 

AUTHOB  OF  TASIOUB  MUBIOAI.  AUD  ]nS0EU.AinEOUS  PUBLICATIONS. 


"  Let  every  thing  that  hath  breath,  praise  the  Lord." 

Psalm  cL  & 


NEW  YORK: 
A.  S.  BARNES   &  COMPANY. 

No.  51  &  63  JOHN  STREET. 

1856. 


Enterui]  according  to  Act  of  Congi-ess,  in  the  yciii-  1S.56, 
BY  A.  S.  MJ  'INES  &  CO 
In  the  Clerk's  Office  of  the  District  Court  of  ibu  boulhurn  Uistiict 
of  New  York. 


STEREOTYrHD  BY 
THOM^  B.  SMITH, 

tU  &  84  BeekmuD  Street. 


GEORUE  WOOD, 

51  Jobu  street. 


The  subject  presented  in  this  little  vol- 
ume is  not  a  trivial  one.  It  embraces  ques- 
tions which  are  worthy  of  the  most  serious 
consideration.  These  have  for  many  years, 
claimed  the  earnest  attention  of  the  writer, 
under  circumstances  peculiarly  favorable  for 
a  fuU  and  thorough  investigation.  He  has 
given  his  best  thoughts  to  the  subject,  and 
the  following  pages  wiU  show  the  result. 


Cant  eitts. 


CHAPTER  I. 

INTRODUCTION. 

Praise,  as  presented  in  tlie  Bible — As  seen  in  onr  worshiping  assem- 
blies— It  has  suffered  a  great  declension — Differences  in  taste, 
deficiencies  in  piety,  &c.,  do  not  account  for  the  change — A  deep- 
er canse — Wrong  notions  of  mere  musical  efficiency — Originally 
the  singers  were  personal  worsliipers   18 


CHAPTER  ri. 

IMPORTANT  PEELIMINABIES. 

A  remedy  must  be  sought — 'No  deficiency  in  natural  gifts — All  have 
talent — Theory  eicplained — Different  degi-ees  of  talent — Music  for 
the  Church  necessarily  simple — All  who  can  speak  might  be 
taught  to  sing — Special  difficulties — Processes  of  training — Ex- 
amples in  point — Decayed  voices — May  generally  be  restored   28 


CHAPTER  III. 

THE  MAIN  QUESTION — WHAT  IS  TO  BE  DONE? 

The  enterprise  a  practical  one — Several  things  necessary  to  its  ac- 
complishment , ,   41 

Section  I. — ^The  subject  requires  prayerful  consideration — It  is  wor- 
thy of  it   41 

Skction  II. — The  undertaking  requires  Christian  laborers — Reasons 
— Efforts  must  be  earnest  and  appropriate   43 


viii 


Contents. 


SsonON  III. — Christians  of  influence  and  intelligence  must  become 
active — Eeasons — No  apology  for  neglect   48 

CHAPTER  IV. 

Efforts  to  be  based  upon  the  teachings  of  Scripture — Teachings  of 
art  not  undervalued — Must  not  conflict  with  the  Bible   68 

Section  I. — The  praises  of  God  are  to  be  mng — Other  methods  not 
to  be  substituted — Objections  answered   54 

Seotion  II. — What  is  the  acHon  of  singing  ? — Not  simply  musical — 
Language  must  be  illustrated  and  enforced — Objections — Music  , 
itself  a  language — Claims  of  verbal  utterance  not  to  be  set  aside .  56 

Section  III. — Personated  devotion— Generally  prevalent — Oppos- 
ed to  Apostolic  precedent — Should  not  be  tolerated — Eeasons   60 


CHAPTER  V. 

WHAT  IS  TO  BE  DONE  IN  SCHOOLS,  IN  EEHEARSAIS,  AUD 
IN  FAMILIES? 


Seotton  I. — Ad/uU  Schools — These  must  have  a  specific  character 
— Reasons — Mental  associations — Spiritual  influences — These 
must  be  promoted  and  cherished — -Ordinary  religious  prepara- 
tions not  suflicient — Why — Objections  answered — Elemental 
knowledge   68 

Section  II. — Children  must  bo  instructed — Musical  exorcises  give 
them  pleasure — Physical,  social,  and  religious  advantages — Easily 
trained — Bearings  upon  the  subject  before  us   72 

Section  III. — Devotional  singing  in  families — Its  Importance — 
Neglect — Abuses — Characteristics  and  advantages — Influence 
upon  congregational  singing— Parlor  music — Its  influence  often 
prejudicial — Not  adapted  to  the  object  before  us   78 


CHAPTER  VI. 

WHAT  IS  REQUIRED  IN  THE  SELECTION  OP  TUNES. 

Prevalent  canses  of  dissatisfaction — Old  tunes?)'!,  now — Taste  neces- 
sarily progressive — Congregations  and  clioirs  should  como  to  an 
understanding,  and  be  governed  by  a  Christian  spirit   79 


Contents. 


ix 


CHAPTER  VII. 

PAGE 

Methods  of  contacting  o.xerdses  in  praise — Congregational  singing 
not  the  only  primitive  method — An  artistic  qaartette,  devotion- 
al or  lestlietie  ? — .V  volunteer  choir  rightly  selected  and  conduct- 
ed—Its superior  advantages — Voices  of  the  congregation  should 
unite  with  it  to  a  greater  extent — Abuses  many  and  flagrant — 
Must  be  done  away   84 

CHAPTER  VIII. 

nfFLTJENCE  AND  CO-OPERATION  OF  PASTORS. 

This  is  indispensable  to  success — Many  considerations  show  this — 
The  aid  usually  withholden — Reasons  examined — Objections  ob- 
viated— Mmical  talent  not  here  indispensable — Without  its  ad- 
vantages, he  can  consult  the  Scriptures,  and  bring  forth  their 
various  teachings — ^These  as  important  to  praise  as  to  prayer — 
Not  right  to  neglect  them — Old  Testament  precepts,  examples 
and  inferences  considered — The  New  Testament  no  less  decided 
in  its  teachings — Precepts — Examples — Inferences — ^No  want  of 
materials  for  the  pastor's  use — The  subject  should  bo  liept  before 
the  people — Suggestions  as  to  modes  of  presentation — Seculariz- 
ing notions,  habits,  and  influences  to  be  counteracted — The  pres- 
ent a  favorable  time — Concerts  and  conventions  will  not  do  the 
pastor's  work — He  must  act,  or  other  efforts  will  fail   91 

CHAPTER  IX. 
PRACTICAL  DIFFICULTIES. 

How  these  are  to  be  obviated — Those  of  the  least  magnitude  oc- 
cur in  various  fields — Among  heathen  converts — ^Among  the 
slave  population — -In  new  settlements — In  settlements  more 
densely  populated — Among  jealousies  and  contentions — "When 
the  leading  talent  is  out  of  the  Churcli.   112 

CHAPTER  X. 

THE  SUBJECT  CONTINUED. 

Section  I. — Greater  difficulties — Strong  prejudices  against  innova- 
tion— Oriirin  of  these — Not  to  be  wantonly  violated — May  be 

gradually  nnderinined — Certain  methods  successful   120 

I* 


X 


C  U  N  T  E  N  T  S . 


PAGK 

Section  II. — ^Difficulties  where  there  has  heen  much  training  upon 
elements  of  notation — No  Instructions  of  an  aesthetic  or  devo- 
tional character — ^The  latter  to  be  supplied — Hints  regarding  the 
process   123 

Section  ill. — Diiiiculties  whore  aesthetic  considerations  have  un- 
due influence — Characteristics — Self-ignorance— The  proper  test 
— The  remedy.   127 

Section  IV. — Difficulties  occasioned  by  strong  combinations  of 
secular  interests  with  the  music  of  the  Church — The  spiHt  of 
praise  not  thus  promoted — Eemedy — Teachings  of  the  Scriptures 
— Pastoral  aid  Indispensable   132 

CHAPTER  XI. 

CONCLUSION. 

The  subject  Is  momentous — ^Must  be  thoroughly  taken  in  hand — 
Neglect  Inexcusable — ^The  cause  demands  speedy  action — Who 
should  be  most  forward  and  zealous  in  the  undertaking?  140 

APPENDIX. 

I. — Declension  in  Church  Music   147 

II.— Hymn  Tunes   158 

III.  — Hymnology   161 

IV.  — Influence  of  Oratorios  and  Concerts  upon  Church  Music  171 

V.  — Miscellaneous  ExtractB   184 

A  Serious  Difficulty   184 

Musical  Instruction  189 

"Want  of  Teachers   195 

Spiritual  Preparation   196 

Eight  use  of  Words  in  Singing   199 

Irrevelant  Mental  Associations  201 

Ill-ordered  Rhapsody  of  the  Masters   206 

Discrimination  in  Psalmody   209 

Singing  in  Family  Worship   210 


SACRED  PRAISE. 


SACRED  PRAISE. 


CHAPTER  I. 

INTRODUCTION. 

Praise,  as  presented  in  the  Bible — As  seen  in  our  worshiping  assem- 
blies— It  has  suffered  a  great  declension — Differences  in  taste,  defi- 
ciencies in  piety,  &c.,  do  not  account  for  the  change— A  deeper  cause 
— ^Wrong  notions  of  mere  musical  efliciency — Originally  the  singers 
were  personal  worshipers. 

Praise,  as  contemplated  in  the  sa«red  Scrip- 
tures, is  hallowed  and  delightful.  It  is  as  the 
voice  of  angels  echoing  amid  the  wastes  of  a  fallen 
world.  How  pure,  and  hoAV  exalted  is  the  lan- 
guage it  employs  !  How  multiplied,  and  how  ur- 
gent are  the  exhortations  of  Scripture  concerning 
it !  No  mention  is  made  of  a  privileged  few  to  the 
exclusion  of  the  less  favored  many;  while  yet  the 
importance  of  skill  is  fully  maintained.  The  in- 
spired precepts  concerning  praise,  too,  have  great 
depth  of  meaning.  Nor  less  i-emarkable  are  the 
2 


14 


Sacred  Praise . 


Character  of  Praise. 

Scripture  examples  of  praise.  The  singers  of 
old  were  not  dull  or  heartless.  They  were  not 
sentimentalists  engaged  in  amusement  or  in  osten- 
tation. They  were  devout,  personal  woi-shipers, 
speaking  earnestly,  conscious  of  the  presence  of 
omniscience.  An  employment  so  delightful  was 
not  confined  to  public  occasions.  It  appeared  in 
families.  The  sweet  singer  of  Israel  had  his 
evening  and  his  morning  songs,  and  his  songs  in 
the  night ;  and  the  maintenance  of  them,  we  may 
presume,  was  no  less  profitable  than  delightful. 

Such  is  the  character  of  praise  as  seen  in  the 
pages  of  inspiration.  But  how  different  does  it 
appear  in  the  Christian  assemblies  of  modern  days ! 
Its  beauty  is  tarnished.  Its  power  is  gone.  Its 
form  remains,  but  its  spirit,  in  the  multitude  of 
cases,  has  departed.  Go  into  the  thousand  churches 
of  different  denominations,  and  what  do  we  see  ? 
For  the  most  part,  one  of  two  extremes — either 
slothful  indifference  or  active  misdu-ection.  Either 
the  singing  is  rude  and  tasteless,  or  it  is  sustained 
chiefly  on  aesthetic  principles  to  the  detriment  of 
devotion.  There  are  occasional  instance*  of  a 
more  favored  nature  ;  but  these  are  comparatively 


Sacred  Praise. 


15 


Abases. 

few.  Generally  speaking,  the  language  of  praise 
becomes  powerless  through  inarticulate  and  irrev- 
erent utterance,  and  the  singing  is  destitute  of 
true  meaning  and  expression.  Exhortations  to 
the  duty  of  px'aise  are  extensively  withhoklen  or 
disregarded.  Few  of  our  leading  minds  seem 
willing  to  investigate  the  subject ;  and  the  num- 
bers are  less  who  exert  their  personal  influence  in 
its  behalf  And  where  shall  we  find  examples  of 
praise  which  will  bear  comparison  with  those  re- 
corded in  the  Scriptures  ?  Shall  we  look  for  them 
where  skill  has  never  been  acquired  ?  Shall  we 
find  them  in  hired  or  volunteer  choirs — or  in  re- 
hearsals, or  concerts,  or  oratorios?  Multitudes, 
who  are  here  the  most  active,  make  no  pretensions 
to  piety,  and  would  be  displeased  at  the  mere 
suspicion  of  personal  solicitude  on  the  subject  of 
religion. 

To  refer  to  such  details  is  exceedingly  painful. 
We  wish  there  was  no  necessity  for  doing  so. 
But  abuses  will  not  be  lessened  by  silence,  or 
cured  by  neglect.  They  must  be  examined.  We 
must  search  for  the  cause,  and  endeavor  to  apply 
the  proper  remedy.    The  search  will  not  be  diffi- 


16 


Sacred  Praise. 


Abuses. 

cult :  and  the  application  of  the  remedy  will  re- 
quire no  unreasonable  amount  of  effort,  if  only  it 
be  from  the  right  sources,  in  the  right  spirit,  and 
in  the  right  direction. 

In  regard  to  these  abuses,  it  has  been  usual  to 
refer  to  deficiencies  in  taste,  to  the  indifference  of 
congregations,  and  to  the  intractability  of  singers, 
as  sufficient  to  render  hopeless  all  efforts  toward 
substantial  improvement.  But,  why  these  defi- 
ciencies, and  this  indifference,  and  this  inti'actabil- 
ity?  Are  they  necessarily  incident  to  praise? 
Reason,  history,  and  the  Scriptures  forbid  such  a 
conclusion. 

Some  writers  suppose  that  music  necessarily 
has  its  strongest  influence  upon  semi-barbarous 
communities,*  and  would  lead  us  thence  to  infer 
that  the  cause  of  abuses  is  to  be  found  m  the  in- 
fluence of  civilization.  Wonderful  discovery! 
So  then,  in  consequence  of  the  general  improve- 
ment in  society,  in  literature,  and  the  arts,  praise, 
as  a  sacred  institution,  is  hereafter  to  become  a 
dead  letter ! 

Others  look  upon  the  low  state  of  practical 

*  See  Burney's  History  of  Music. 


Sacked  Praise. 


17 


Its  fiature. 

piety  as  furnishing  the  solution  of  the  difBcultj. 
They  tell  us  we  shall  never  see  the  spirit  of 
praise  revived  till  the  days  of  the  millennium. 
But  if  this  solution  is  the  true  one,  how  does  it 
occur  that  at  present  the  greatest  neglecters  of 
the  subject  are  among  the  more  spuitual  mem- 
bers of  a  Church  ? 

All  these  views  of  the  subject  are  too  limited 
and  superficial.  A  deeper  view  is  that  which  re- 
fers to  the  wide  prevalence  of  wrong  notions  of 
musical  efficiency.  Exercises  in  praise,  as  we 
shall  have  occasion  to  show,  ought  so  to  unite  the 
pleasures  of  song  with  the  fervors  of  devotion  as 
to  give  to  the  worshipers  an  increased  interest  in 
the  sentiments  of  the  words  which  are  sung. 
This  will  be  seen  at  once  from  the  early  history 
of  the  art,  from  the  importance  of  the  language 
we  employ,  and  from  the  intelligent  nature  of 
our  holy  religion.  It  is  evident,  too,  as  we  shall 
see,  that  real  praise  is  an  employment  most 
solemn  and  spiritual,  involving  the  same  respons- 
ibilities which  prevail  in  prayer.  The  singers 
are,  as  personal  worshipers,  to  adopt  the  language 
which  is  before  them  as  their  own :  and  tlie  lis- 
2« 


18 


Sacred  Praise. 


Its  Nature, 

teners  are  to  yield  to  it,  either  audibly  or  inaudi- 
blj.  their  entire  and  devout  concurrence.  As 
this  is  in  substance  the  Bible  definition  of  praise, 
we  shall  adhere  to  it  in  the  succeeding  pages. 

Throughout  the  whole  period  of  Scripture  his- 
tory, this  was  the  prevailing  idea  of  praise ;  and 
in  perfect  accordance  with  it  are  the  teachings 
of  the  Apostle  Paul  to  the  primitive  churches. 
But,  unhappily,  in  modern  times,  the  idea  has 
been  set  aside.  Music  has  at  length  become  a 
"heavenly"  art.  It  attracts  toward  itself  that 
measure  of  attention,  which,  in  religious  worship, 
is  due  to  better  things.  Some  evidence  of  this 
attraction,  indeed,  occurs  as  far  back  as  in  the 
time  of  the  ancient  fiithers.  One  of  the  latter — 
Augustine — complains  in  his  celebrated  "  Con- 
fession," that  the  sweetness  of  the  music,  while 
it  wrought  powerfully  upon  his  sensibilities, 
would  often  give  a  wrong  turn  to  his  meditations. 
Another,  less  scrupulous  in  this  respect,  and  at  a 
later  period  in  ecclesiastical  history,  compares 
the  music  to  paintings,  of  which  the  sacred  words 
were  as  pleasant  l)or(lers.  This,  in  musical  prac- 
tice even  now,  seems  to  be  the  popular  idea. 


Sacred  Praise. 


19 


Confiicting  Notions. 

The  tune  and  the  manner  of  performing  it  absorb 
attention,  while  the  words,  full  of  meaning  and 
spirituality,  seem  often  to  be  used  as  a  mere  ex- 
cuse for  singing.  Many  go  so  far  as  to  regard 
verbal  utterance  unnecessary.  And  there  are 
not  wanting  men  in  the  profession,  who  consider 
"good  music,"  however  obtained,  as  an  eflficient 
instrument  of  religious  edification.  Others,  how- 
ever, driven  by  a  natural  reaction  to  the  opposite 
extreme,  would  be  for  discarding  every  hannonic 
and  melodic  attraction.  Nothing,  in  their  view, 
but  the  plainest  chants  and  the  simplest  chorals 
can  be  called  appropriate.  Others  again,  who 
have  given  no  serious  attention  to  the  subject, 
seem  wholly  uninterested.  Since  their  own  de- 
votions are  seldom  aided  by  the  music,  they  are 
content  to  leave  it  in  the  hands  of.  a  committee 
among  the  secularities  of  the  congregation.  Yet 
all  parties  admit  that  "music"  must  be  sus- 
tained as  a  "  necessary  imrt  of  public  worship  ;" 
thus  in  every  practical  arrangement,  making  that 
which  ought  to  be  of  secondary  interest  the  thing 
chiefly  contemplated. 

The  prevailing  notions  of  talent,  of  style,  and 


20 


Sacred  Praise. 


Conflicting  Notions. 

of  personal  obligation,  are  just  such  as  would 
naturally  arise  fi'om  these  conflicting  misconcep- 
tions of  musical  eflSciency.  The  possession  of 
talent,  for  instance,  involves  obligation.  But  ex- 
cellence of  skill,  in  the  view  of  many,  is  placed 
so  high  above  their  reach  as  to  furnish  an  availa- 
ble excuse  for  neglect.  Others,  regarding  clioir 
performances  in  the  light  of  Sabbath  concerts,  are 
found  to  shrink  from  such  conspicuity.  Others 
again  are  unwilling  to  engsige  in  performances 
which  do  not  form  an  occasion  for  amusement  or 
display ;  while  many,  despising  such  pretensions, 
are  found,  in  the  use  of  privilege,  to  give  most 
unmusical  utterances  in  the  congregation,  regard- 
less of  the  tase  or  the  comfort  of  their  fellow- 
worshipers.  IMembers  of  choirs  too,  are  often  in 
difficulty  because  their  wants  are  not  sufficiently 
cared  for,  their  talents  duly  appreciated,  or  serv- 
ices properly  rewarded.  And  to  crown  all,  the 
pastor  who  must  act  prudently,  unacquainted  as 
he  probably  is  with  music,  imagines  that  he  can 
declare  faithfully  the  whole  council  of  God  with- 
out dwelling  on  tlic  duty  of  praise.  He  s  cs 
the  prevailing  abuses,  and  is  sometimes  deeply 


Sacred  Praise. 


21 


Cause  of  Decline. 

grieved.  But  he  is  no  artist.  What  has  lie  to 
do  with  such  matters? 

These  conflicting  notions  about  musical  efii- 
ciency,  however,  agree  in  one  thing.  They  are 
all  at  variance  with  the  obvious  teaching  of  the 
Bible ;  and  since  they  are  so,  and  are  of  such 
long  standing,  and  are  connected  with  tendencies 
which  are  so  widely  disastrous,  it  is  evident  that 
we  need  look  no  further  for  the  cause  of  decline 
and  barrenness  in  public  praise.  In  our  teach- 
ings, arrangements,  and  appliances,  we  neglect 
to  cultivate  the  spirit  of  praise,  while  we  make 
that  which  was  originally  designed  as  an  auxil- 
iary concomitant,  almost  the  sole  object  of  atten- 
tion and  regard.  What  better  results  could  have 
been  expected  from  such  a  fundamental  error  in 
practical  religion  ?  Any  similar  mistake,  in  re- 
gard to  preaching,  exhortation,  or  prayer,  would 
have  proved  equally  disastrous  to  the  spirituality 
of  those  exercises.  Let  mere  elocution,  for  in- 
stance, become  here  the  great  object  of  interest, 
and  we  should  soon  see  a  lively  illustration  of  the 
evils  which  arise  from  the  practical  errors  we 
are  describing.    The  Master  of  Assemblies  ever 


22  Sacred  Praise. 

Cause  of  Decline. 

blesses  the  right  observance  of  His  own  institu- 
tions. But  when  these  are  habitually  abused 
and  perverted,  what  wonder  is  it  that  the  blasting 
and  the  mildew  are  upon  us?  The  wonder  is 
that  such  a  fundamental  error  has  not  been 
visited  with  still  greater  evils. 


CHAPTER  II. 


IMPORTANT  PRELIMINARIES. 

A  remedy  must  be  sought — No  deficiency  in  natural  gifts — ^All  have 
talent — Theory  explained — Different  degrees  of  talent — Music  for  the 
Church  necessarily  simple — All  who  can  speak  might  be  taught  to 
sing — ^Special  difficulties— Processes  of  training — Examples  in  point 
— Decayed  voices — May  generally  be  restored. 

To  discover  a  cause  of  difi&culty  is  often  an 
easier  matter  than  to  prescribe  an  adequate  rem- 
edy. How,  in  the  presence  of  long  established 
habits  and  prejudices  in  favor  of  error,  shall  this 
be  done  ?  This  is  now  the  chief  question  before 
us,  and  one  which  will  necessarily  occupy  most  of 
the  succeeding  pages.  One  thing  is  certain — the 
subject  must  be  taken  up  in  earnest.  A  few  fiiint 
wishes,  or  a  few  isolated  efforts,  or  fitful  exer- 
tions will  be  of  no  avail.  The  work  which  is  to 
be  done  requires  well-concerted,  vigorous,  and 
persevering  effort. 

Here,  however,  we  shall  be  met  with  the 
standing  plea  of  a  general  deficiency  in  musical 


24 


Sacred  Praise. 


Theory  of  Talent 

gifts.  Many  who  delight  in  the  worship  of  the 
sanctuary  do  not  believe  it  possible  for  them  to 
learn  to  sing ;  and  the  numbers  are  still  greater 
who  imagine  the  task  too  difBcult  for  their  lim- 
ited opportunities  of  instruction  and  practice. 
Tell  them  that  all  might  learn  to  sing,  and  you 
are  but  heralding  one  of  the  ultraisms  of  the 
day.  They  deny  it.  They  "know"  it  is  not 
true.  It  is  "  contrary  to  observation  and  experi- 
ence." What  is  it  to  them  that  the  whole 
Prussian  population  for  the  last  fifty  years  have 
actually  been  taught  to  sing  ?  What  if  teachers 
on  this  side  the  Atlantic  have  long  practiced 
upon  this  principle  with  success?  These  people 
will  not  concern  themselves  with  the  demonstra^ 
tion.  Their  mind  is  made  up.  They  have  tried 
the  experiment  in  their  own  way,  and  to  their 
entire  conviction  of  inability. 

The  influence  of  this  impression  is  disastrous. 
It  undermines  responsibility,  discourages  im- 
provement, excuses  neglect,  and  leads  to  almost 
every  species  of  abuse.  Singing  must,  of  course, 
be  maintained  in  the  congregation;  and  if  the 
multitude  are  really  incapable  of  learning  to 


Sacred  Praise. 


25 


Theory  of  Talent. 

sing,  then  the  few  who  have  talent,  be  thej 
saints  or  sinners,  must  assume  the  responsibility, 
and  be  left  chiefly  to  their  own  direction.  Un- 
less this  matter,  therefore,  can  be  so  presented  as 
to  produce  the  necessary  conviction  upon  the 
public  mind,  our  appeal  on  the  main  subject  be- 
fore us  will  be  of  little  avail. 

The  theory  we  wish  here  firmly  to  establish  is, 
that  all  who  have  the  power  of  speech  are  en- 
dowed by  nature,  to  a  greater  or  less  degree, 
with  the  gift  of  sonor.  That  there  are  differences 
in  degree  of  talent  is  not  to  be  regretted.  First- 
rate  musicians  in  the  greatest  number,  are  not 
needed  even  for  amusement  One  Beethoven  as 
composer,  might  suffice  for  an  entire  generation. 
A  single  Lind  or  Sontag  might  satisfy  the  idola- 
try of  half  her  cotemporaries.  Artists  of  less 
ability  are  more  numerous.  These  again  are  di- 
vided into  first  and  second-rate  performers ;  and 
as  the  gradation  extends  downward,  in  the  scale 
of  ability,  to  the  plainest  ballad-singers,  the 
numbers  are  usually  sufficient  to  afford  amuse- 
ment for  the  million. 

But  this  is  not  all.    Many  voices,  not  suitable 
3 


26 


Sacred  Praise. 


Theory  of  Talent. 

for  solos,  are  quite  available  in  choruses.  The 
massive  combinations  of  this  sort,  in  the  orato- 
rio, embrace  many  a  voice  which,  heard  alone, 
would  be  disagreeable,  but  which,  coverd  by 
powerfiil  instrumentation,  becomes  effective  and 
satisfactory.  The  same  thing  also  occurs  in  the 
lighter  species  of  secular  music.  Talent,  which 
is  very  moderate,  may  in  various  ways  be  avail- 
able. 

All  this  is  ti'ue.  let  it  be  remembered,  where 
attention  is  exclusively  devoted  to  sesthetic  con- 
siderations, and  where  the  mind  is  at  leisure  for 
the  minutest  criticism.  But  in  exercises  of 
praise  the  miad  must  be  very  differently  occu- 
pied. The  music  must  be  of  secondary  interest. 
The  prevalence  of  the  true  spirit  of  praise  will 
lead  us  to  overlook  much  that  is  deficient  in 
manner.  If  the  performances  are,  on  the  whole, 
well  ordered,  respectable,  and  impressively  de- 
vout, they  will  disarm  criticism,  and  the  music 
then  prove  a  delightful  auxiliary  of  religious  in- 
fluences. 

The  style  of  music  composed  for  the  church, 
too.  is  for  the  most  part  very  plain  and  unpre- 


Sacred  Praise. 


27 


Requires  Simplicity. 

tending,  compared  with  that  of  the  secular  de- 
partment, requiring,  of  course,  less  powers  of 
execution.  We  are  not  ignorant  that  some 
churches  depart  from  this  simplicity.  But  while 
thej  allow  of  copious  and  erudite  selections  from 
the  mass,  the  oratorio,  and  even  the  opera,*  we 
have  yet  to  learn  that  they  derive  any  spiritual 
advantage  from  the  course  they  are  pursuing. 
Taste  in  such  circumstances  is  gratified,  we  fear, 
at  the  expense  of  devotion,  and  is  not  kept,  as  in 
the  pulpit,  under  due  subordination.  We  have 
no  sympathy  with  those  who  attribute  every  thing 
to  art.  Fine  music  will  often  produce  delight  in 
time  of  worship,  and  this  may  not  always  in  the 
case  of  individuals  be  unfavorable  to  devout  med- 
itation. But  the  mind  under  this  fascination 
will  generally  be  misguided.  Music,  therefore, 
which  is  less  pretending,  is  the  most  suitable  for 
the  church.  Now,  if  the  question  here  before  us 
were,  whether  every  one  could  excel  as  an  artist, 
we  should  answer  unhesitatingly — no.  The  ex- 
pectation would  be  as  unreasonable  as  in  relation 

*  We  refer  not  here  to  occasional  extracts  of  a  simple 
kind. 


28 


Sacred  Praise. 


Ecquires  Simplicity. 

to  sculpture,  to  painting,  or  to  poetry.  But  the 
question  whether  every  one  might  not  acquire 
sufficient  skill  in  music  to  enable  him  to  sing  ac- 
ceptably to  others  and  to  his  own  profit,  in  sea- 
sons of  public  and  private  devotion,  is  a  very  dif- 
ferent one,  in  regard  to  the  amount  of  talent ;  and 
one,  therefore,  which  we  are  constrained  to  answer 
in  the  affirmative. 

Speech  embraces  some  of  the  elements  of  song. 
The  quality  of  tone  in  either  depends  on  the 
habitual  treatment  of  vowels.  The  process  of 
cultivation  is  simple,  and  every  one  can  pursue 
it.  But  has  every  person  an  ear  for  the  govern- 
ment of  his  voice  in  regard  to  musical  scales? 
To  this  question  we  reply  that  the  faculty  is  al- 
ways an  acquired  one.  It  is  never  instinctive. 
The  scales  themselves  are  artificial,  and  it  de- 
mands no  little  practice  fully  to  master  them. 
Pupilage,  both  in  speech  and  in  song,  commences 
in  infancy.  As  the  infant  by  the  mere  power  of 
imitation  acquires  one  language  as  readily  as 
another,  so  it  learns  a  right  or  a  wrong,  a  true 
or  a  false  scale  with  about  equal  facility.  Speech 
being  necessary  to  the  purposes  of  social  life,  we 


Sacred  Praise. 


29 


Individual  Training. 

take  unwearied  pains  with  the  faltering  accents 
of  infancy,  and  feel  well  rewarded  for  our  labor 
by  tlie  improved  utterances.  We  consider  this 
no  hardship.  We  delight  in  it.  Now,  it  is  well 
ascertained  that  one  tithe  of  this  labor,  rightly 
directed,  would  serve  to  produce  a  discriminating 
ear  in  regard  to  musical  relations.  But  since 
music  is  not  demanded  for  the  ordinary  purposes 
of  life,  the  necessary  assistance  is  commonly  with- 
holden.  Every  thing  in  respect  to  this  develop- 
ment of  skill,  is  left  to  accident.  In  such  cir- 
cumstances the  slightest  misdirection,  however 
induced,  eventuates  in  a  wTong  habit,  which 
strengthens  by  subsequent  practice. 

Accordingly  we  find,  on  opening  a  large  juven- 
ile class,  a  few  voices  which,  without  individual 
training,  will  be  perpetually  out  of  scale.  If 
these  are  neglected  they  will  make  no  progress. 
Yet  when  noticed  more  closely,  all,  or  most  of 
them,  will  show  some  talent  for  the  appreciation 
of  graduated  sound.  They  will  usually,  while 
jarring  against  each  other,  be  pursuing  some  liar- 
monic  distances,  such  as  a  thu"d,  a  fourth,  a  fifth, 

or  an  octave  above  or  below  the  principal  sounds. 
3* 


30 


Sacred  Praise. 


Individual  Training. 

Now  it  is  remarkable  that  what  thej  are  thus 
endeavoring  to  do,  in  the  perpetuation  of  an  ill- 
formed  habit,  is  really  more  difficult  in  itself  con- 
sidered, than  what  we  wish  them  to  do.  These 
pupils,  when  there  is  leisure  for  individual  ti'ain- 
ing,  are  easily  brought  in  a  gradual  manner  to  a 
just  appreciation  of  intervals,  after  which  they 
are  not  unfrequently  found  to  excel.  Yet  with- 
out this  special  assistance  theii*  unfortunate  habits 
would  have  been  perpetuated.  They  might  ac- 
tually have  been  strengthened  by  repetitions  in 
the  class-room.  This  accounts  for  the  fact  that 
so  many,  even  in  families  that  are  called  musical, 
never  succeed  in  learning  to  sing.  Fortuitous 
developments  in  infancy  are  suffered  to  become 
habitual.  And  habits,  whether  right  or  wrong, 
strengthening  by  repetitions  of  effort,  increase  in 
tenacity  with  the  lapse  of  years. 

But  happily  these  habits,  though  they  acquire 
great  strength,  are  not  absolutely  incurable. 
Time  and  patience,  with  intelligent  instruction,  are 
found  in  the  hardest  cases  to  insure  success.  A 
few  examples  of  special  training  in  infancy  and 


Sacred  Praise. 


31 


Special  Ciises. 

in  riper  years  will  not  here  be  deemed  out  of 
place.* 

A— — ,  in  early  childhood,  sung  nothing  but 
the  monotone.  This  she  had  acquired  by  listen- 
ing to  the  one  note,  by  which  a  parent  had  uni- 
formly hushed  her  to  sleep.  This  habit  of  sing- 
ing every  thing  upon  one  note  would  probably 
have  been  perpetuated  but  for  the  advantage  in 

*  The  process  in  dealing  with  sudi  hard  cases  is  very 
simple.  Speech,  as  we  have  said,  embraces  some  of  the 
elements  of  song.  A  man  while  asking  a  question,  for  in- 
stance, will  often  elevate  his  voice  about  a  tone  or  semi- 
tone with  considerable  uniformity;  and  when  answering 
a  question,  will  as  often  make  a  similar  depression  of  voice. 
This,  by  careful  practice,  he  will  learn  to  do  with  more 
exactness  as  his  power  of  discrimination  improves.  The 
following  table  exhibits  the  process  to  tne  eye  as  applied 
to  music-syllables: 

Qitest. — Do,  I'e?  Atis. — Re,  do. 

do,  re  ?  mi  ?  mi,  re,  do. 

do,  re  ?  mi  ?  faw  ?  faw,  mi,  re,  do. 

do,  re?  mi  ?  faw?  soil  sol,  faw,  mi,  re,  do. 

do,  re  ?  mi  ?  faw  ?  sol  ?  la  ?  la,  sol,  faw,  mi,  re,  do. 
Thus  by  asking  and  by  answering  question  upon  question 
with  the  music  syllables,  a  satisfactory  idea  is  given  of  the 
ascending  and  descending  scale.  Then  by  the  prolonga- 
tion of  vowels,  speech  is  gradually  changed  into  song.  For 
a  time  the  voice  will  be  rough,  and  wanting  in  flexibility, 
and  not  be  found  to  proceed  safely  alone.  But  as  the  pupil 
gain?  strength,  the  progress  is  accelerated,  and  by  degrees 
the  8i)ecial  guidance  of  the  teacher's  voice  is  withholdeii. 


32 


Sacred  Praise. 


Individual  Training. 

early  life  of  a  few  brief  lessons,  after  which  she 
made  rapid  progress,  and  became  an  excellent 
singer. 

The  early  efforts  of  B         were  so  entirely 

out  of  scale  that  a  superficial  observer  would 
have  deemed  her  a  hopeless  case.  But  when  it 
was  ascertained  that  she  had  acquired  with  great 
accuracy  the  false  intonation  of  a  revered  relative, 
she  was  regarded  as  a  prodigy,  and  soon  became 
an  apt  scholar,  quite  remarkable  for  good  intona- 
tion. The  ■  truth  Avas  th;it  her  first  achievement, 
for  which  she  might  easily  have  been  rejected, 
was  what  few  could  have  performed  after  months 
of  hai'd  drilling. 

C  early  acquired,  by  some  undiscovered 

means,  the  habit  of  singing  uniformly  a  little  be- 
low the  proper  pitch.  Some  would  have  regarded 
this  as  a  native  defect,  yet,  with  slight  prompting 
fi'om  day  to  day,  the  habit  was  effectually  coun- 
teracted ;  and  his  intonation  became  remarkably 
accurate,  and  his  ear  discriminating. 

D  ,  when  very  young,  was  laboriously 

drilled  from  day  to  day  before  he  could  be  brought 
to  sustain  alone  tlie  melody  of  tlie  simplest  I'sahu- 


Sacred  Praise 


3a 


Early  Bias. 

tune.  He  would  lose  his  pitch  insensibly,  and  not 
be  able  to  regain  it  without  assistance.  The 
writer  well  remembers  this  case,  for  it  was  his 
own.  The  development  of  his  voice  and  ear  was 
slow,  in  consequence,  perhaps,  of  bad  singing  by 
some  of  the  older  members  of  the  family,  who 
exhibited  the  same  infirmity.  Yet,  while  he  has 
not  been  unsuccessfiil  as  a  musician,  others  who 
manifested  some  precocity  of  genius,  have  made 
little  progress  in  the  art. 

Such  facts  as  these  are  very  convincing  and 
suggestive,  and  the  detail  might  be  lengthened  to 
almost  any  extent. 

Sometimes  the  mind  receives  an  early  bias 

which  is  unfortunate.     E          in  her  infancy 

manifested  great  fondness  for  music,  but,  in  a 
year  or  two,  grew  indiflferent,  and  in  a  little  time 
became  thoroughly  disgusted  with  all  singing. 
The  alienation  might  have  continued  through  life, 
but  for  the  early  discovery  of  the  cause.  INIusic, 
in  this  case,  had  been  associated  with  stern  disci- 
pline. The  child  was  stubborn  about  going  to 
sleep,  and  restless  under  confinement  during  the 
morning  and  evening  hymns. 


34 


Sacred  Praise. 


Individnal  Training. 

Mrs.  F          in  her  early  childhood  met  with 

such  discouragement  from  her  parents  respecting 
her  musical  powers,  that  it  had  an  unfavorable 
influence  through  life.  She  made  good  profi- 
ciency, and  became  a  good  singer,  but  her  voice 
would  always  falter  in  the  presence  of  an  un- 
wonted listener. 

The  late  Mr.  G  in  early  childhood  made 

such  uncouth  noises  as  to  draw  upon  him  the  ridi- 
cule of  the  family  circle.  Yet.  h;xd  he  been  duly 
tutored  and  encouraged,  he  might  have  exhibited 
remarkable  talents;  for  afterward,  under  every 
disadvantage,  he  became  a,  good  singer,  a  useful 
teacher,  and  a  respectable  composer  of  plain 
psalmody. 

H  ,  a  pious,  lovely  youth,  whose  society 

was  highly  prized,  had,  it  was  supposed,  a  consti- 
tutional antipathy  to  music.  He  could  not  en- 
dure it.  He  had  no  affectation.  He  was  simple- 
hearted  and  kind,  but  felt  justified  in  absenting 
himself  from  eveiy  evening  circle  where  he  would 
be  subject  to  musical  annoyances.  Some  years 
later  in  life,  however,  while  listening  to  a  lecture 
on  the  subject  of  praise  which  exposed  some  of 


Sachei;  Puaise 


35 


Early  Bias. 

the  prevailing  abuses,  his  antipathy  was  happily 
removed.  "Oh,"  said  he,  "I  now  understand 
the  secret  of  my  difficulty.  When  my  young 
friends  used  to  practice  psalmody  for  amusement 
in  the  midst  of  mirth  and  gayety,  the  exei'cise 
seemed  so  like  profanation  that  I  could  not  endure 
it.  As  I  knew  nothing  of  music,  and  as  most  of 
the  singers  were  persons  who  could  not  be  sup- 
posed to  trifle  with  sacred  things,  I  concluded  the 
difficulty  was  withm  myself.  But  now  I  see  the 
matter  in  a  difierent  light." 

It  was  from  a  similar  cause,  perhaps,  that  the 
excellent  Deacon  J   became  remarkably  in- 
different to  exercises  in  praise.  They  did  not 
appear  to  be  very  profitable,  he  said.  He  could 
not  enjoy  them.  He  had  no  ear  for  music.  He 
could  never  understand  what  there  was  in  it  which 
was  serviceable  to  devotion,  for  he  always  felt  re- 
lieved when  the  singing  was  ended.  But  in  pro- 
cess of  time  a  new  choir  was  formed  without  his 
knowledge,  and  conducted  on  the  strict  basis  of 
Christian  principle.  Soon  he  began  to  listen. 
From  Sabbath  to  Sabbath  he  manifested  increas- 
ing interest.    "I  know  not  how  it  is,"  he  said; 


36 


Sacred  Praise. 


A  harder  Case. 

"  I  never  cared  for  music.  But  wLen  the  singers 
began  to  feel  Avhat  thej  were  singing,  tiie  tears 
would  flow.  This  is  something  that  I  can  enjoy." 
Who  will  say  that  man  had  naturally  no  ear  for 
music  ?    There  is  good  reason  for  supposing  that 

both  he  and  Mr.  H  might  have  been  taught 

to  sing. 

But  we  will  mention  a  harder  case.  The  late 
Mr.  K  ,  while  young,  made  several  unsuc- 
cessful attempts  for  the  cultivation  of  his  musical 
powers.  These  served,  by  repetitions  of  effort  in 
the  practice-room,  only  to  "confirm  the  bad  habits 
he  had  fortuitously  acquired  in  the  nursery.  This 
was  a  case  which  should  have  received  special  at- 
tention. But  he  was  neglected.  When  nearly 
sixty  years  of  age,  however,  he  felt  such  a  desire 
to  unite  with  his  family  in  singing  the  praises  of 
God,  that  he  determined,  thus  late  in  life,  to  ac- 
complish that  object  if  possible,  by  receiving  pri- 
vate lessons.  He  had  no  practical  knowledge 
Avhich  was  available.  He  had  not  a  discriminat- 
ing ear.  He  could  not  form  aright  any  single 
sound  proposed  to  him.  He  was  a  man  deeply 
immersed  in  the  concerns  of  an  extensive  business 


Sacred  Praise. 


37 


Successful  Issue. 

in  a  large  city.  Beyond  each  given  hour  of  pillc- 
tice  he  could  scarce  give  a  thought  to  the  subject. 
Yet,  at  such  an  age,  and  under  all  these  disadvan- 
tages, he  in  a  little  time  succeeded.  After  receiv- 
ing about  one  quarter's  private  instruction  from  a 
teacher  whose  class  he  liad  once  attended  to  no 
advantage,  he  could  sing  several  tunes  quite  equal 
to  the  ordinary  style  of  the  lecture-room.  So 
long  as  he  practiced  he  continued  to  improve.  In 
a  few  weeks,  after  he  had  gained  his  object,  how- 
ever, he  was  suddenly  called  to  the  sanctuary 
above,  where  we  trust  the  everlasting  song  will 
be  sweeter  to  him  for  having  commenced  his  pu- 
pilage in  the  present  world. 

But  why  need  cases  be  multiplied?  The  pre- 
ceding ones,  among  many  others  equally  suggest- 
ive, came  under  the  writer's  own  observation,  and 
he  has  reported  them  with  sufficient  detail  for  all 
the  purposes  of  the  argument.  Could  any  thing 
be  more  decisive  ?  To  say  nothing  of  experiments 
in  other  countries  or  by  other  teachers  in  our  own 
country,  the  writer  can  affirm  that  for  the  last 
twenty  years  he  has  sought  in  vain  for  a  single 
instance  of  one  who  could  speak,  and  yet  upon 
4 


38 


Sacred  Praise. 


AU  might  succeed. 

wlwse  voice  and  ear  no  musical  impression  could 
be  made.  He  pretends  to  no  remarkable  skill  or 
discernment  in  tlie  matter,  but  has  been  earnest, 
patient,  and  untiring  in  his  investigations.  And 
what  is  the  result  ?  Many  have  imagined  them- 
selves and  others  to  be  exceptions  to  the  rule,  and 
many,  especially  those  advanced  in  years,  would 
not  have  courage  to  make  the  trial,  or  sufficient 
perseverance  to  insure  success.  But  this  is  not 
the  fixult  of  nature.  The  writer  has  often  experi- 
mented upon  classes  of  adults  made  up  exclusively 
of  such  hard  cases,  and  always  with  a  measure  of 
success  proportioned  to  the  industry  and  perse- 
verance of  the  pupils.  He  has  done  this  not  for 
pleasure,  nor  from  any  doubt  of  its  practicability, 
but  for  the  sake  of  gaining  testimony  to  this  point 
for  the  satisfaction  of  others. 

And  now,  when  it  is  recollected  that  the  earli- 
est development  of  voice  and  ear  is  usually  left  to 
accident,  that  the  ear  is  liable  to  every  species  of 
bias,  and  that  taste  is  subjected  to  the  unre- 
strained influence  of  prejudice  and  misrepresenta- 
tion, who  can  wonder  that  so  few  become  even 
tolei'able  singers?    It  is  just  what  might  have 


Sacred  Praise. 


39 


Decayed  Voices. 

been  expected.  In  music,  as  in  painting,  nature 
gives  us  hints,  susceptibilities,  and  materials; 
cultivation  must  do  the  rest. 

There  is  a  class  of  individuals,  however,  whom 
we  must  not  forget  to  notice  in  this  connection. 
We  allude  to  those  who,  having  been  once  toler- 
able singers,  have  gradually  lost  their  powei-s, 
and  who  on  this  account  excuse  themselves  from 
all  activity  on  this  subject.  This  diminution  of 
powers,  however,  is  usually  the  consequence  of 
mere  'neglect  in  practice.  Practice  is  not  more 
necessary  for  the  acquisition  of  skill  than  for  the 
preservation  of  it.  Neglect  of  practice  necessa- 
rily leads  to  deterioration,  while  T.ell-directed  in- 
dustry is  rewarded  with  improvement.  Defective 
intonation,  rigidity  of  voice,  shortness  of  breath, 
and  other  things  of  the  sort,  while  physical  health 
is  unimpaired,  will  be  sure  to  yield  under  the  in- 
fluence of  well-ordered  practice.  The  apology 
offered  by  this  class  of  individuals,  therefore,  often 
amounts  to  a  virtual  confession  of  delinquency. 

Practice  is  every  thing.  Let  children  receive 
early  instruction,  such  as  their  cases  require,  and 
all  may  learn  to  sing.    Let  there  be  practice  in 


40 


Sacred  Praise 


Need  of  Practice. 

higher  schools,  in  families,  and  in  social  circles, 
and  all  may  easily  retain  the  voice  of  song.  The 
principle  is  obvious.  Timely  instruction  for  the 
development  of  musical  powers,  and  practice  for 
the  preservation  of  them. 


CHAPTER  III. 

THE  MAIN  QUESTION  WHAT  IS  TO  BE  DONE  ? 

The  enterprise  a  practical  one — Several  things  necessaiy  to  its  accom- 
plishment. 

Having  disposed  of  some  important  prelimi- 
naries, we  are  prepared  to  enter  directly  on  the 
main  question  of  this  appeal — What  can  be  done 
to  restore  to  exercises  of  praise,  their  proper  char- 
acteristics and  influences?  The  enterprise  is 
doubtless  a  practical  one.  It  must  be  so,  for 
praise  is  a  form  of  worship  instituted  for  the  glory 
of  God  and  the  benefit  of  his  people  through  all 
time.  How  then  shall  the  work  be  accomplished  ? 


SECTION  I. 

The  subject  requires  prayerful  consideration — It  is  worthy  of  it. 

In  the  first  place,  the  undertaking  must  be 

made  a  subject  for  prayerful  consideration.    It  is 

no  trifling  matter.    The  question  whether  praise 
4* 


42 


Sacred  Praise. 


Prayerful  Consideration. 

is  to  be  desecrated  or  to  be  redeemed  from  its 
abuses  and  restored  to  its  appropriate  beauty  and 
spirituality,  is  surely  one  -which  is  adapted  to 
call  forth  deep  solicitude.  It  is  not  simply  a 
question  of  musical  improvement.  The  great 
themes  of  salvation  are  taken  in  hand ;  how  shall 
they  be  treated?  Shall  they  be  abused  and 
trifled  with  in  the  Divine  presence,  or  shall  they 
be  cherished,  illustrated,  and  enforced  ?  To  with- 
hold solicitude  in  reference  to  such  a  subject  as 
this,  is  to  be  guilty  of  unfaithfulness.  The  same 
may  be  said  of  prayer  on  this  behalf  Nothing 
can  be  achieved  without  it.  Yet,  how  seldom  are 
our  supplications  offered  on  behalf  of  this  subject  ? 
This  is  wrong.  There  must  be  earnest  incjuiry, 
believing  expectation  and  fervent  prayer.  To 
speak  here  of  impracticabilities  would  be  displeas- 
ing to  Him  who  knows  no  worshipers  but  those 
who  are  spiritual.  Many  we  have  seen  treat  the 
whole  subject  with  neglect.  Many  are  satisfied 
with  giving  an  occasional  pittance  toward  "sus- 
taining the  music."  Others  who  have  talent  and 
influence,  withhold  exertions  which  there  is  resv- 
son  to  suppose  would  be  beneficial.    And  tlicre 


Sacred  Praise. 


43 


Christian  Activity. 

are  yet  others  who,  fixing  their  attention  upon  the 
singinji,  indulge  themselves  in  censures  or  com- 
mendations,  much  as  if  they  were  attending  a 
concert.  All  this  again  we  say  is  wrong.  It 
must  he  done  away.  The  work  to  be  accom- 
plished must  be  undertaken  in  the  fear  of  God, 
and  with  reference  to  the  promotion  of  his  glory ; 
and  in  no  other  way  will  it  succeed. 


SECTIOX  II. 

The  tmdertaldng  reqnires  Christian  laborers — ^Eeasons— Efforts  mnst 
be  earnest  and  appropriate. 

The  undertaking  must  be  prosecuted  chiefly 
by  Christians.  Nothing  can  be  more  evident 
than  this.  Can  we  look  for  spiritual  improve- 
ment from  those  who  are  not  spiritual?  Too 
long  have  we  been  waitmg  for  such  an  impos- 
sibility. It  is  time  for  Christians  to  take  their 
place  as;  lenders  in  this  service.  If  deficient  in 
musical  skill,  the  remedy  is  before  them.  Let 
them  have  recourse  to  instruction  and  practice. 
Many  churches,  we  are  aware,  excuse  themselves 


44 


Sacred  Praise. 


Christian  Activity 

on  the  ground  of  musical  deficiency.  But  this 
will  never  do.  The  apology  is  unsound.  If 
what  we  have  said  in  regard  to  natural  gifts  is 
true,  every  church  will  doubtless  embrace  Avithin 
itself,  an  abundance  of  natural  talent  which  can 
be  rendered  available.  And  it  should  be  remem- 
bered that  the  possession  of  gifts  implies  obliga- 
tion. 

Too  much  reliance,  as  we  have  seen,  has  been 
placed  on  mere  musical  efficiency.  This  may 
answer  for  secular  ends,  but  not  for  those  which 
are  truly  spiritual.  Because  music  has  such 
power  over  native  and  cultivated  susceptibilities, 
has  it  therefore  the  power  of  producing  influences 
which  are  supernatural  ?  Can  it  do  the  very  office- 
work  of  the  Holy  Spirit?  How  absurd  and  mon- 
strous is  the  supposition !  As  well  might  the 
same  thing  be  affirmed  of  elocution  in  preaching 
or  exhortation.  This  has  its  advantages  which 
ought,  perhaps,  to  be  more  highly  prized.  Yet, 
Avhat  are  they  in  this  relation  unless  the  speaker 
has  some  pretensions  to  personal  piety  ?  We  are 
always  watchful  and  jealous  over  the  influence  of 
fine  speaking.    We  know  that  it  may  prove  a 


45 


Is  indispensable. 

snare  to  us.  The  same  watchful  jealousy  should 
be  exercised  in  regard  to  church  music,  which  is 
of.  a  refined  character.  If  the  singers  are  mere 
performers,  something  more  than  jealousy  is  de- 
'  manded.  The  influences,  in  a  religious  point  of 
view,  will,  of  necessity,  be  unsound  and  super- 
ficial. 

Ai'e  those  who  know  nothing  of  experimental 
religion  to  be  regarded  as  the  best  instruments  for 
promoting  it  in  the  office  of  praise  ?  Look  at  the 
languao-e  ©f  our  songs  in  this  connection.  How 
hallowed,  how  full  of  meaning.  How  impressive. 
Shall  it  be  the  office-work  of  the  impenitent  to 
sing  us  .into  tender  contrition?  Shall  the  care- 
less and  the  indifierent  be  the  ones  to  awaken  the 
supine  and  the  slothful?  Shall  those  who  see 
nothing  in  the  Saviour,  why  they  should  desire 
him  be  expected  to  charm  us  with  his  love,  by  the 
mere  "  concord  of  sweet  sounds  ?"  Shall  the  un- 
grateful, the  unbelieving,  the  rebellious,  wholly 
unreconciled  to  God,  and  averse  to  Divine  things 
— shall  these  be  the  very  ones  to  excite  us  by 
their  minstrelsy,  to  lively  gratitude,  to  humble 
confidence  in  God,  to  holy  delight  in  the  Divine 


46 


Sacred  Praise 


Cliilstian  Activity 

government,  and  in  the  adorable  perfections  of 
the  Most  High  ?  How  preposterous  the  expecta- 
tion !  The  thing  can  not  be.  It  is  contrary  to 
the  true  order  of  instrumentality.  God  may  in 
his  mercy  regard  the  circumstance  of  ignorance, 
which  is  not  voluntary,  and  he  may  overrule 
wickedness  for  good.^  But  we  can  not  expect 
him  to  smile  graciously  upon  the  unfaithful,  and 
the  unhallowed  observance  of  his  own  institutions. 
This  he  will  never  do.  He  will  honor  those  who 
honor  him ;  not  those  who  rob  him  of  the  glory 
due  to  his  name.  And  what  have  the  wicked  to 
do,  treading  his  courts  as  leaders  in  such  a  hal- 
lowed service  as  this  ?  Let  the  unconverted  join 
in  the  songs  of  Zion,  if  they  will  do  so  Avith  be- 
coming decency  and  solemnity.  We  would  not 
hinder  them  any  more  than  in  reference  to  prayer. 
But  Christians  alone  can  become  efficient  leaders 
in  the  hallowed  enterprise.  Just  so  long  as  it 
remains  in  other  hands,  the  abuses  will  continue. 

We  would  not  undervalue  the  taste,  the  kind 
feeling,  the  public  spirit,  the  wonderful  persever- 
ance which  have  often  been  manifested  in  sustain- 
ing the  music  of  the  church  by  those  who  have 


Sacred  Praise. 


47 


Is  indispensable. 

only  a  general  reverence  for  religious  institutions. 
Nor  do  we  wonder  that  their  patience  should  have 
been  sorely  tried  by  witnessing  the  apathy  of  the 
church  in  regard  to  their  efforts.  Nor  do  we 
think  it  sti-ange  that  professoi-s  of  religion,  while 
under  the  influence  of  a  worldly  spirit,  should 
sometimes  have  been  guided  exclusively  by  their 
counsels. 

Nor  will  we  presume  to  say  that  the  churches 
have  derived  no  benefit  fii"om  such  exertions.  But 
there  has  been  wrong  every  where ;  and  if  this  is 
to  be  done  away,  Christians  must  become  the 
special  actors.  This  is  reasonable.  No  other 
agency  will  succeed.  The  great  ends  of  spiritual 
worship  will  not  otherwise  be  secured.  Singers 
may  be  variously  employed,  as  artists  or  as  vol- 
unteer perfoiTners.  We  may  have  recourse  to 
the  untutored  congregational  style.  We  may  sing 
with  the  organ  or  ■»  ithout  it ;  or  we  may  change 
the  character  of  the  music  by  never-ending  in- 
ventions or  devices ;  and  we  may  marvel,  too,  at 
the  fi'ustration  of  plans  and  the  instability  of  ar- 
rangements. But  all  will  be  to  no  purpose  while 
the  main  requisite  is  wanting.    Direct,  decided 


4-8 


Sacred  Praise. 


Iiifluenco  and  Intelligence. 

Christian  influence  must  be  the  life-giving  spirit 
of  the  enterprise.  Christians  have  a  susceptible 
conscience.  Let  this  be  enlightened,  and  their 
eflbrts  can  be  secured.  Let  such  efforts  be  duly 
sustained,  and,  under  the  Divine  guidance  and 
blessing,  they  will  be  attended  with  success. 


■    SECTION  III. 

Christians  of  influence  and  intelligence  must  become  active — Reasons — 
No  apology  for  neglect. 

Persons  of  influence  and  intelligence  in  the 
church  must  put  their  hand  to  the  work.  Such 
an  interest  as  this  should  not  be  confided  to  the 
ignorant,  to  the  inexperienced,  or  to  those  who 
are  w£ak  in  influence  or  weak  in  faith.  If  taste 
and  skill  in  music  were  the  things  chiefly  m  view, 
there  might  be  some  shadow  of  reason  for  neglect ; 
for  enlightened  minds  would  not  e.xpect  much 
benefit  from  the  exclusive  promotion  of  such  prop- 
erties. This  very  idea  may  have  had  its  influ- 
ence with  the  community.  Those  who  are  distin- 
guished for  intelligent,  consistent  piety,  go  to  the 


Sacked  Praise. 


49 


Are  demanded. 

house  of  God  not  to  be  amused,  not  to  be  enter- 
tained by  the.  sentimentalities  of  the  place,  not  to 
yield  themselves  in  a  passive  way  to  whatever  ap- 
pliances may  be  brought  to  bear  upon  them. 
Their  religion  is  one  of  principle  as  well  as  of 
feeling.  They  go  to  engage  intelligently  in  sol- 
emn communion  with  things  unseen.  Mere  ob- 
jects of  taste,  therefore,  are  rightly  regarded  as 
of  secondary  importance.  Many  of  this  clasc  of 
Christians  are  dissatisfied  with  the  manner  in 
which  praise  is  conducted.  They  witness  so  much 
of  heaitlessness  and  of  mismanagement  and  mis- 
rule in  psalmody  as  to  induce  discouragement. 
They  have  acquu-ed  no  fondness  for  such  music ; 
and,  judging  from  past  experience,  nave  little  ex- 
pectation of  benefit  from  it. 

There  is,  however,  especially  in  large  cities,  a 
class  of  Chi'istians  who  err  in  a  different  extreme. 
Secular  music  is  taught  in  their  parlors.  They 
have  frequented  the  concert-room  and  the  oratorio 
as  lovers  of  art.  For  psalmody  they  have  ac- 
quired no  taste.  Accustomed  in  the  concert-room 
to  give  exclusive  attention  to  the  performances, 

and  to  praise  or  censure  them  as  they  seem  to  de- 
•5 


50 


Sacred  Praise. 


Bias  of  Secular  Music. 

serve,  they  carry  the  same  habit  with  them  at 
church.  They  know  of  nothing  better.  If  the 
music  displeases  them,  it  hinders  their  devotions. 
If  it  is  artistic,  it  answers  well  as  a  drop-scene  in 
the  exercises.  Yet  being  in  the  minority  as  to 
numbers,  they  can  seldom  have  the  arrangements 
to  their  liking,  and  learn  like  others  to  treat  the 
subject  with  neglect. 

Now  all  this  abandonment  of  the  interests  of 
praise  is  wrong.  Let  motives  be  what  they  may, 
the  case  is  not  materially  altered.  No  desertion 
of  a  cause  so  precious  as  this  can  find  a  sufficient 
warrant  in  Scripture  or  reason.  The  neglecters 
have  much  to  learn  on  their  own  account.  Their 
views  of  religious  music  are  vague  and  inconsist- 
ent. They  know  not  what  they  need,  or  what 
they  should  do  in  regard  to  it.  The  difference 
here  between  aesthetics  and  devotion,  though 
heaven-wide  in  its  claims  and  influences,  is  not 
well  understood.  Their  practical  notions,  habits 
of  thinking,  prejudices  and  associations  in  refer- 
ence to  this  interest,  must  be  re-examined  in  the 
light  of  Scripture  truth.  And  if  men  of  educa- 
tion, and  piety,  and  influence  greatly  need  this  on 


Sacred  Praise. 


51 


Must  be  counteracted. 

their  own  account,  they  need  it  still  more  in  ref- 
erence to  others  around  them  who  will  be  influ- 
enced by  their  opinions  and  examples.  If  a  re- 
form is  undertaken  in  the  manner  and  spirit  of 
praise,  such  men  must  bestir  themselves.  We 
speak  plainly  on  this  subject,  for  there  is  abund- 
ant cause.  When  good  men,  even  the  best  of 
men,  are  unwittingly  misled,  it  is  time  for  some- 
body to  speak  out  in  all  truth  and  faithfulness, 
that  error  may  be  seen  and  corrected.  In  the 
present  case,  a  new  public  sentiment  is  to  be  in- 
duced and  acted  upon ;  and  to  this  end  the  assist- 
ance and  co-operation  of  influential  men  is  indis- 
pensable. Whatever  views  of  duty  they  entertain 
regarding  their  own  personal  improvement  in 
practical  skill,  their  present  position  and  policy 
must  be  changed.  They  must  stand  out  of  the 
way.  Nay,  they  must  become  active — must  be- 
come leaders  in  the  enterprise.  They  must  give 
it  a  distinct  and  permanent  character.  This  will 
never  be  done  by  minds  of  secondary  mold. 
These  will  not  possess  the  necessary  discrimina- 
tion. It  requires  ripeness  of  Christian  experi- 
ence ;  it  requires  a  knowledge  of  mental  science 


52 


Sacred  Praise. 


Magnitude  of  the  work. 

and  of  human  nature.  The  thing  to  be  accom- 
plished is  no  trifle.  It  is  not  the  work  of  an  hour 
or  a  day.  It  calls  for  talent  aside  from  the  teach- 
ings of  art ;  it  calls  for  perseverance.  The  work 
of  praise,  like  that  of  prayer,  is  one  which  will 
never  promote  itself,  and  never  be  finished  Avhile 
the  world  remains,  or  while  there  are  Divine  per- 
fections to  be  celebrated. 


CHAPTER  IV. 


Efforts  to  be  based  upon  the  teachings  of  Scripture — Teachings  of  art 
not  undervalued — Must  not  conflict  with  tlie  Bible. 

Efforts  must  be  based  upon  the  teachings  of 
the  holy  Scriptures.  As  the  office  of  praise  has 
been  established  by  Divine  authority,  we  must 
look  to  the  Bible  for  the  principles  which  should 
guide  us  in  sustaining  it.  The  teachings  of  art 
have  their  importance.  We  can  not  dispense  with 
them.  Yet  even  these  must  be  submitted  to  the 
unerring  standard.  If  in  the  matter  before  us, 
they  speak  not  in  accordance  with  this,  they  must 
thus  far  be  discountenanced  and  resisted.  The 
same  is  true  as  to  the  prevailing  notions,  prej- 
udices, and  speculations  of  men.  They  are  too 
vague,  too  contradictory  and  erroneous,  to  l)c 
taken  as  authority.  "What  saith  the  Scrip- 
tures?'' "To  the  law  and  to  the  testimony." 
In  all  the  more  essential  elements  of  praise,  the 
Bible  is  our  only  sure  guide.    Its  teachings, 

however,  are  sufficiently  plain  and  definite. 
5* 


54 


Sacred  Praise. 


Praise  to  be  Snng. 

SECTION  I. 

The  praises  of  God  are  to  be  sunr; — Other  methods  not  to  be 
substituted — Objections  answered. 

We  are  required  to  sing  the  praises  of  God. 
The  requirement  is  as  general  as  that  which  re- 
lates to  prayer.  If  -we  are  to  pray  without  ceas- 
ing, we  are  in  every  thing  to  give  thanks.  The 
practice  is  not  merely  recommended,  it  is  solemn- 
ly enjoined.  We  have  seen  also  that  Nature 
furnishes  no  excuse  for  the  neglect  of  such  ex- 
ercises. How  far  the  want  of  early  culture  pro- 
ducing obstacles  in  the  way  of  subsequent  train- 
ing, may  serve  to  modify  present  obligation  in 
individual  cases,  we  pretend  not  to  determine. 
We  have  not  the  least  doubt,  however,  •  that 
multitudes  who  now  sit  as  silent  worshipers, 
ought  to  learn  to  sing.  We  will  add,  too,  that 
in  other  cases,  the  smallest  amount  of  talent  may 
answer  the  ends  of  private  devotion.  While  the 
heart  overflows  with  gratitude,  and  love,  and  holy 
joy,  it  naturally  seeks  to  express  itself  in  audible 
cliantings,  or  fragments  of  song.  Many  an  in- 
dividual, unable  to  sustain  the  melody  of  a  regular 
tunc,  has  acquired  this  habit,  and  found  the  pre- 


Sacred  Praise. 


55 


Action  of  Singing. 

ciousness  of  thus  holding  secret  communion  at  the 
mercj-seat,  with  things  unseen  and  spiritual. 
And  why  should  not  skill  be  augmented  in  such 
cases,  as  it  easily  might  be  by  private  training  ? 

Some  tell  us,  that,  since  they  are  unable  to 
sing,  they  prefer  to  give  thanks  in  speech  during 
exercises  of  prayer.  This,  in  any  case,  they 
should  not  fail  to  do.  Exercises  of  praise,  too, 
include  petitions  and  supplications  to  be  oflFered 
in  song.  Will  the  observance  of  the  one  form  of 
exercises  excuse  us  m  the  neglect  of  the  other  ? 
What  would  be  thought  of  that  professor  of 
religion  who  should  conclude  to  offer  all  his  sup- 
plications in  song  ?  Two  distinct  methods  of 
addressing  the  throne  of  grace  have  been  pi-c- 
scribed  to  us.  We  need  them  both,  and  Neither 
of  them  should  be  neglected. 


SECTION  II. 

What  is  the  action  of  singing? — Not  simply  mnsieal — Lana^iage  mnst 
be  illustrated  and  enforced — 01)jections — Music  itself  a  langn.'ise — 
Claim  of  verbiil  utterance  not  to  be  set  aside. 

But  what  is  the  actwn  of  singing  required  of 
us  in  prnise  ?  Not,  certainly,  that  whicli  some  of 


56 


Sacred  Praise. 


Music  Subsidiary. 

the  ancient  fathers  supposed — the  performance 
of  beautiful  music  to  which  words  are  subsidiary. 
Such  an  idea  would  be  preposterous.  It  would 
be  placing  art  in  the  foreground,  and  the  subject- 
matter  in  the  shade.  It  would  be  making  relig- 
ion the  mere  servant  of  taste.  The  idea,  to  be 
sure,  is  sufficiently  artistic.  We  meet  with  it  in 
the  concert-room,  and  at  the  oratorio,  where  the 
express  object  is  aesthetical.  But,  however  ad- 
missible it  is  supposed  to  be  in  those  connections, 
it  is  inconsistent  with  the  purposes  of  worship. 
Here,  from  the  nature  of  the  case,  the  consecrated 
text  must  form  the  basis  of  the  exercise. 

It  is  an  instructive  fact,  that,  while  in  the 
providence  of  God,  not  a  single  strain  of  music 
has  been  preserved,  which  is  loioicii  to  have  been 
sung  during  the  period  of  biblical  history,  a  mul- 
titude of  the  poetic  themes  of  song  are  found  on 
the  pages  of  inspiration,  for  the  use  of  the  church, 
to  the  remotest  ages  of  time.  Does  this  look  as 
if  words  were  of  mere  secondary  import  ?  Why 
should  mere  borders  of  paintings  be  so  long  and 
so  carefully  preserved,  after  the  figures  of  the 
canvas  have  been  obliterated? 


Sacred  Praise. 


57 


To  Verbal  Utterance. 

But  we  need  not  dwell  on  this  species  of  argu- 
ment. There  is  a  fact  established  in  musical 
history,  which  is  entirely  decisive.  During  the 
whole  period  in  which  the  Scriptures  were  writ- 
ten, singmg  was  understood  to  be  a  refined  spe- 
cies of  verbal  utterance.  This  utterance  must 
have  been,  more  or  less,  rhythmical  and  melodi- 
ous. But  it  was  designed  to  be  distinct,  earnest, 
and  impressive.  This,  artists  themselves  must 
acknowledge.  Then,  we  say,  let  them  remember 
this  definition  of  song,  and  be  guided  by  it,  and 
not  presume  in  church  music  to  depart  fi^-om 
the  spirit  of  a  rule  which  is  given  by  inspira- 
tion. 

Many,  however,  plead  tha.:  the  language  is  al- 
together too  rough  for  musical  purposes.  Allow 
this  to  be  true,  and  nothino;  exaggerated.  Is  this 
any  reason  why  the  language  should  be  rendered 
unintelligible?  Paul  thought  differently.  He 
tells  the  Corinthian  brethren  that  he  had  rather 
hear  five  words  in  a  language  that  can  be  under- 
stood, than  ten  thousand  in  a  tongue  unknown. 
And  he  dra^js  his  illustration  ©f  the  principle 
from  praise  as  well  as  from  prayer. 


58 


Sacred  Peaise. 


Objections. 

Again,  we  shall  be  told  that  in  large  churches, 
the  choir  placed  behind  the  congregation,  and  ac- 
companied with  a  powerful  instrument,  are  un- 
able to  give  a  distinct  utterance  of  words.  Such 
an  embarassment,  we  admit,  is  often  very  trying. 
But  who  has  created  it?  Not,  surely,  the  Mas- 
ter of  Assemblies.  The  parties  who  have  done  so 
must  be  responsible.  The  Bible  never  authorises 
us  to  place  the  leading  singers  out  of  hearing,  or 
to  drown  their  utterances  by  overpowering  instru- 
mentation. But  "books  are  before  us  which  con- 
tain the  words."  True;  yet  in  multitudes  of 
cases  they 'lie  unopened,  and  the  people  are  igno- 
rant of  what  is  sung,  except  as  memory  is  exer- 
cised. Looking  upon  the  words  of  a  printed 
page,  too,  is  but  a  poor  compensation  for  indis- 
tinctness of  utterance.  We  should  certainly  so 
regard  it,  in  reference  to  preaching,  to  exhoi'ta- 
tion,  or  to  prayer.  We  need  the  impressive 
utterances  of  a  distinct,  impassioned  delivery. 
These,  in  some  way,  we  caii  have.  We  ymist 
have  them,  if  we  would  follow  the  Scripture  rule. 

But  here  comes  an  artist,  enanjpred  by  the 
inimitable  productions  of  the  masters.    Music,  ho 


Sacred  Praise. 


59 


Is  Music  a  Language  ? 

tells  us,  has  become  itself  a  language,  and  one 
which  is  so  distinct  and  powerful  as  to  do  away 
the  necessity  of  verbal  utterance.  Indeed !  Is 
the  man  wiser  than  the  pages  of  inspiration  ! 
But  suppose  him  in  some  high  artistic  sense  to 
be  partially  correct.  Let  him  then  come  for- 
waixi  with  his  exhibitions  of  skill.  Let  him  have 
every  possible  advantage.  Give  him  all  the  per- 
formers of  a  modern  orchestra.  Give  him  all  the 
instruments  that  celebrated  Nebuchadnezzar's 
image.    Or,  if  he  pleases,  let  him  have  the  poet's 

"  Gun,  drum,  trumpet,  blunderbuss,  and  thunder." 

Now  let  him  play  us,  if  he  can,  a  musical  ti-ans- 
lation  of  the  twenty-third  or  the  hundred  and 
forty-eighth  Pfclm,  which  would  be  intelligible 
to  any  man  living  !  Far  be  it  from  us  to  under- 
value the  real  achievements  of  art.  But  such 
baseless  pretensions,  common  as  they  have  been, 
are  deserving  only  of  ridicule. 

Such  are  some  of  the  subterfuges  usually  re- 
sorted to,  by  those  who  endeavor  to  set  aside  the 
claims  of  verbal  utterance.  They  are  easily  dealt 
with.     But  there  is  another  question  of  great 


60 


Sacred  Praise. 


Personation. 

importance,  which  must  be  decided  by  the  same 
unerring  authority. 


SECTION  III. 

Personated   devotion— Generally  prevalent— Opposed   to  Apostollo 
teaching— Sliould  not  be  tolerated — Keasons, 

Does  the  Bible  sanction  a  personated  devotion 
in  exercises  of  praise  ?  One  would  suppose  it  to 
do  so,  who  should  judge  by  the  living  examples 
which  surround  him.  This,  indeed,  would  seem 
to  be  the  prevailing  idea.  Few,  perhaps,  are 
prepared  to  say  that  heartless  worship  in  song 
can  be  accepted.  But  the  language  of  customary 
arrangements,  and  practices,  and  negligences,  cer- 
tainly argues  great  looseness  of  -tipprehension  in 
this  matter.  The  question,  therefore,  demands  a 
careful  examination.  Let  us  turn  once  more  to 
the  inf  illible  guide.  The  examples  of  praise, 
recorded  in  the  Bible,  are  full  of  instruction,  and 
quite  to  the  purpose  in  hand.  Surely  such  per- 
sons as  David,  and  Asaph,  and  Heman,  and  Je- 
duthan,  and  Jehoshaphat,  and  Simeon,  and  Paul, 
and  Silas  were  not  mere  sentimentalists,  mere 


Sac  11  ED  Praise. 


61 


Is  not  Worship. 

pei-sonators  of  devotion.  The  angels  at  the  na- 
tivity were  not  giving  a  serenade  for  the  amuse- 
ment of  the  shepherds.  Their  song  was  the  full 
outpouring  of  holj  joj.  The  same  inference 
may  be  drawn  from  an  examination  of  many  of 
the  inspired  themes  of  song.  Though  these  em- 
brace a  great  variety  of  topics,  they  include  some 
of  the  most  spiritual,  the  most  elevated,  and  most 
sublime  portions  of  the  Bible.  Ought  these  to 
be  sung  in  public  worship  as  the  mere  exercises 
of  the  concert-room !  Or  should  not  the  utter- 
ance proceed  from  hearts  enlivened  by  a  spiritual 
apprehension  of  Divine  things?  Paul  answers 
this  question.  In  his  epistles  to  the  primitive 
churches,  he  is  very  explicit.  See  Ephesians  v. 
18,  19 ;  and  Colossians,  iii.  16.  Here  we  have 
in  the  first  place  what  might  be  termed  the  pre- 
requisites of  song,  "  Be  filled  with  the  Spirit," 
and  "Let  the  word  of  God  dwell  in  you  richly 
in  all  wisdom."  In  the  second  place  we  have  the 
manner  of  utterance — "  speaking  to  yourselves  in 
Psalms  and  hymns  and  spiritual  songs,  singing,'''' 
and  "teaching  and  admonishing  .  .  .  singing P 

And  lastly,  we  have  what  is  required  ot"  us  as 
6 


62 


Sacred  Praise. 


Personation  Unnecessary. 

personal  worshipers — "  Making  melody  in  your 
hearts  to  the  Lord,^^  and  "  singing  with  grace 
in  your  hearts  to  the  Lord."  Nothing  could  be 
plainer.  Here  is  no  ground  for  personation. 
Singers  are  to  be  personal,  spiritual  worshipers. 
Certainly  this  is  Paul's  view.  We  see  then  what 
is  required  of  us ;  and  Scripture  rules  must  stand, 
whatever  becomes  of  the  counsels  and  traditions 
of  men.  There  is  talent  enough  in  the  churches. 
Let  this  be  matured  and  there  will  be  no  need  of 
personators. 


CHAPTER  V. 


WHAT  IS  TO  BE  DONE  IN  SCHOOLS,  IN  RE- 
HEARSALS, AND  IN  FAMILIES  ? 

SECTION  I. 

Adnlt  Schools — These  must  have  a  specific  character — Eeasons — Men- 
tal associations — Spiritual  iafinences — These  must  be  promoted  and 
cherished — Ordinary  religions  preparations  not  sufficient — Why — Ob- 
jections answered — Elemental  knowledge. 

Schools  and  rehearsals  of  church  music  must 
have  a  character  adapted  to  the  object  we  are 
contemplating.  There  are  several  reasons  for 
this.  One  is  found  in  the  well-known  influence 
of  mental  associations.    Cowper  says : 

"  Wherever  I  have  heard 
A  Idndred  melody,  the  scene  revives, 
And  -with  it  all  its  pleasures  and  its  pains." 

This  is  not  poetic  exaggeration,  but  simple  truth. 
The  power  of  such  associations  can  scarcely  be 
over-estimated.  It  is  often  greater  in  many  re- 
spects than  that  of  harmony,  melody,  and  rhythm 


Sacred  Praise. 


Adult  Schools. 

combined :  yet  it  has  been  little  thought  of  in 
this  connection.  Adult  schools  and  rehearsals  of 
psalmody,  during  the  past  half  century,  have,  in 
most  instances,  been  little  else  than  social  gather- 
ings for  amusement.  Such  an  arrangement  might 
answer  for  the  practice  of  catches  and  glees. 
Here  some  measure  of  mirth  Avould  be  indispens- 
able :  for  in  music,  as  in  oratory,  one  must  enter 
fully  into  the  subject  before  him,  if  he  would  do 
it  justice.  But  to  cultivate  devotional  music  in 
the  same  mirthful  spirit,  would  be  exceedingly 
absurd.  It  would  be  as  far  i-emoved  from  the 
true  principles  of  art,  as  from  the  claims  of  relig- 
ion. And  here  is  seen  one  of  the  most  fi.*uitful 
sources  of  that  u'reverence  and  misrule  which 
have  so  frequently  disgraced  choir  performances 
in  our  worshiping  assemblies.  Associations  of 
thoughtlessness  and  levity  have  been  so  intimately 
blended  with  strains  of  psalmody  in  the  practice- 
room,  as  to  destroy  all  feeling  of  reverence  and 
solemnity.  Such  a  result  from  such  a  practice 
was  inevitable.  Singers  thus  trained,  learn  to 
speak  forth  with  boldness  and  inconsideration, 
sucii  solc'imi  language  a.'*  would  fill  llk'ni  with 


iSACKEi)    P  RAISE. 


65 


Irrelevant  Associations. 

trembling  if  they  fully  apprehended  its  import. 
This  is  very  sad ;  and  yet  it  is  a  thing  so  common 
as  scarcely  to  excite  observation. 

L'relevant  associations  are  not  confined  to  schools 
and  rehearsals  of  a  lower  order.  They  often 
abound  where  we  look  for  better  things.  The 
teacher,  it  may  be,  wishes  to  treat  sacred  subjects 
in  a  becoming  manner ;  but  he  is  habitually  of  a 
peevish  or  a  merry  temperament,  and  will  be  sure 
to  leave  his  own  impress  upon  the  mind  of  his 
pupUs.  Or  if  he  is  a  dry  mechanist  or  an  excita- 
ble sentimentalist,  a  similar  result  will  follow,  un- 
less his  influence  is  in  some  way  counteracted. 
And  doubtless  much  of  the  dullness  and  the  ii'rel- 
evant  emotion  which  attend  exercises  in  praise 
may  be  ti-aced  to  this  very  source. 

Wrong  associations  and  feelings  can  be  pre- 
vented only  by  establishing  right  ones.  We  must 
preoccupy  the  mind  with  relevant  associations,  if 
we  would  escape  from  such  as  are  imfavorable  to 
devotion.  This  is  our  only  alternative.  Many 
pill  not  believe  it.  Why,  they  ask,  may  not 
(music  be  cultivated  as  painting,  and  poetry,  and 

other  arts  are  cultivated?    Such  questions  have 
6* 


6t>  Sacked  Pkaise, 

Kight  Associations. 

some  measure  of  plausibility,  and  good  men  are 
often  misled  by  them.  But  it  should  be  remem- 
bered that  the  chief  object  of  such  schools  and  re- 
hearsals is  not  to  produce  artists,  but  to  secure 
such  musical  appliances  to  sacred  words  as  shall 
render  them  more  impressive  and  more  devotional. 
This  object  will  of  necessity  be  defeated,  unless 
the  practice  of  psalmody  is  accompanied  with  rele- 
vant influences.  This  is  a  principle  the  truth  of 
which  can  not  reasonably  be  questioned.  Just 
such  influences  as  have  been  habitually  soAvn  in 
the  practice-room  are  sure  to  spring  up  for  good 
or  for  ill  in  the  solemn  assembly. 

It  must  be  recollected,  however,  that  associa- 
tions and  feelings  may  have  some  relevancy  to 
religion  without  beino;  what,  in  the  evangelical 
sense,  would  be  deemed  spiritual.  If  the  object 
before  us  were  merely  the  promotion  of  aesthetic 
influences,  the  measure  we  are  insisting  upon 
would  not  be  useless :  but  since  we  have  chiefly 
in  view  a  far  nobler  one,  how  is  the  importance 
of  the  measure  augmented  !  Spiritual  influences 
come  into  the  heart  of  the  worshiper,  it  is  true, 
only  by  a  gracious  implantation.    But  it  is  equally 


Sacred  Praise. 


67 


To  be  Promoted. 

true  that' they  will  never  spring  up  and  flourish 
in  the  midst  of  our  indifference  and  neglect.  That 
is  impossible.  Nor  let  it  be  imagined  that  gen- 
eral preparations  for  worship  will  here  suffice. 
Praise,  employing  as  it  does  the  appliances  of  art 
to  verbal  utterances  in  the  Divine  presence,  has 
claims  of  a  special  nature.  It  demands  the  for- 
mation of  certain  habits  which  are  resultant  from 
right  practice.  Practice  of  some  sort  we  neces- 
sarily have,  Avhich  is  never  without  its  influence 
upon  our  devotions.  Is  it  of  no  consequence, 
then,  whether  this  practice  be  right  or  wrong? 
What  we  ask  for  is  the  adoption  of  the  same  prin- 
ciple in  rehearsals  which  all  allow  to  be  essential 
in  preparations  for  the  pulpit.  How  are  singers 
to  worship  in  the  spii'it  if,  in  all  their  rehearsals, 
they  make  no  efibrt  for  the  promotion  of  spii'itu- 
ality  ?    This  will  never  be. 

Doubtless  we  shall  here  meet  with  many  an 
objection.  Decency,  and  order,  and  gi-avity,  and 
some  measure  of  emotion  in  reference  to  the  hymns 
in  practice,  will  be  deemed  appropriate ;  but  to 
convert  the  practice-room  into  a  place  for  exhorta- 


68 


Sacked  Praise. 


Spiritual  Influences. 

tion,  prayer,  and  praise,  would  be  as  impractica- 
ble as  unwise. 

But  we  are  not  pleading  for  such  an  entire 
change;  we  ask  for  religious  influences  just  so 
far  as  thej  may  be  necessary  to  secure  the  de- 
sired object.  Of  course,  criticism  and  worship 
are  distinct  things.  They  can  not  be  combined  in 
any  single  exercise.  The  one  draws  the  mind 
downward  to  musical  observances,  the  other  raises 
it  upward  in  the  contemplation  of  heavenly  things. 
Each  position  of  the  mind  is  right  in  its  place. 
But  we  need  practice  which  will  assist  us  in  our 
upward  aspirations,  by  freeing  us  from  every  ar- 
tistic entanglement.  This  we  must  have,  to  some 
extent,  in  the  practice-room,  or  artistic  considera- 
tions will  constantly  ensnare  us.  Nor  would  there 
be  any  thing  iucongruous  in  such  an  arrangement 
as  has  been  suggested.  If,  in  the  ordinary  course 
of  worldly  employments,  we  can  find  occasional 
parentheses  for  prayer  and  praise,  how  much  easier 
can  we  find  them  in  evenings  which  are  specially 
devoted  to  improvement  in  psalmody.  The  won- 
der is,  that  such  an  obvious  duty  should  ever  have 
been  questioned.    Among  all  meetings  for  benev- 


Sacked  Praise. 


69 


Eudimcntal  Instruction. 

olent  objects,  and  for  religious  improvement  and 
consultation,  with  this  single  exception,  we  engage 
more  or  less  in  devotional  exercises.  But  prepara- 
tions for  praise  have  been  given  over  to  the  dicta- 
tions of  art.  The  office-work  of  angels,  so  to 
speak,  has  been  committed  to  the  muses,  as  if 
taste  were  the  chosen  goddess  of  our  idolatries ! 
This  is  palpably  absurd,  and  must  always  lead  to 
disappointment.  Taste  never  appears  in  lovelier 
character  than  when  it  ministers  in  humble  sub- 
servience to  divine  things. 

It  is  an  unfortunate  circumstance  that  a  com- 
petent knowledge  of  rudiments  is  so  seldom  gained 
in  early  life.  If  the  fact  were  otherwise,  much  of 
the  difficulty  now  experienced  in  adult  classes 
would  be  removed.  At  present  the  claims  of 
notation,  of  rhythm,  of  melody,  of  style,  of  verbal 
utterance,  of  sentiment,  and  of  expression,  are 
necessarily  crowded  into  the  exercises  of  each 
successive  evening,  because  of  the  general  ignor- 
ance in  such  matters,  and  because  of  the  brief 
period  allotted  to  instruction.  Every  thing  deemed 
essential  must  be  inculcated  in  a  little  time, 
through  the  hurry  of  incessant  application.  Un- 


70 


Sacred  Praise. 


Want  of  Method 

der  such  circumstances,  how  easy  is  it  for  relig 
ious  exercises  to  be  excluded. 

Secular  music  knows  nothing  of  these  embar- 
rassments. Sentimentalities  are  there  easily  ex- 
cited and  regulated.  Sufficient  time  also  is 
usually  allowed  for  the  accomplishment  of  rea- 
sonable expectations.  But  as  circumstances,  in 
reference  to  psalmody,  are  so  entirely  different,  it 
is  easy  to  see  that  methods  of  instruction  and 
practice,  in  relation  to  it,  ought  to  be  greatly 
modified.  Every  thing  in  this  respect  is  at  loose 
ends.  Most  teachers  do  their  work  very  imper- 
fectly. One  who  excels  in  notation,  for  instance, 
will  occupy  most  of  the  period  allotted  him,  in 
teaching  his  pupils  to  read  music.  Another,  who 
prides  himself  on  being  a  good  timeist,  will  dwell 
disproportionately  upon  rhythm.  A  third,  for  a 
similar  reason,  will  train  his  pupils  chiefly  in 
melody  and  harmony.  A  fourth,  who  neglects 
some  of  the  preceding  elements,  will  dwell  on 
dynamics,  or  vocal  delivery ;  while  a  fifth,  more 
rarely  met  with,  cares  for  nothing  but  sentiment. 
But  where  is  the  teacher  who  dwells  on  these  ele- 
ments in  due  economical  poi  tions  of  time  ? 


Sacred  Praise. 


7] 


In  teaching. 

If  artistic  excellence  were  here  the  chief  object 
to  be  obtained,  we  might  well  despair  of  success. 
But  the  case  is  far  otherwise.  We  do  not  need 
the  talents  of  a  Mara  or  a  Sontag,  for  instance, 
to  enable  us  to  maintain,  in  song,  the  earnest 
pleadings  of  the  51st  Psalm,  or  the  hallowed  as- 
criptions of  the  148th.  A  heart  melted  into  sup- 
plication, or  elevated  in  holy  joy,  would  prove  far 
more  edifying,  though  possessing  mediocrity  of 
talent.  The  spirit  of  praise  takes  precedence  of 
the  manner  of  it,  and  finds  a  sweet  response  in 
the  heart  of  every  spiritual  worshiper.  Hence, 
for  the  purpose  of  singing,  such  as  psalmody  re- 
quires the  necessanj  attainments  are  so  moderate 
as  to  be  gained  by  a  reasonable  lanount  of  well 
directed  training. 

Artistic  refinements  in  style  are  extensive  and 
difiicult.  They  are,  more  or  less,  of  an  adventi- 
tious character,  always  crying,  "give,  give."  A 
man  might  spend  his  whole  life  upon  them,  and 
still  be  a  learner.  But  such  things  would  be 
mere  impertinences  in  public  worship.  How 
evident  is  it,  therefore,  that  instructions  in  devo- 
tional music  should  be  methodical  and  appro- 
priate. 


72 


Sacked  Praise. 


Juvenile  Instruction. 


SECTION  II. 

Childrmi  mnst  be  instructed — Musical  exercises  give  them  pleasure — 
Pliysical,  social,  and  religious  advantages — Easily  trained — Bearings 
npon  the  subject  before  us. 

Chilflren  must  be  early  taught  to  sing.  This, 
as  before  hinted,  is  in  accordance  with  the  sug- 
gestions of  nature.  If  pupilage  actually  com- 
mences in  infancy,  and  if  a  right  or  a  wrong 
scale  is  then  acquired  with  about  equal  facility, 
by  imitation,  it  must  be  very  unwise  to  leave 
every  thing,  in  respect  to  voice  and  ear,  to  the 
influence  of  accident.  A  little  prompting,  as  in 
reference  to  speech,  would  usually  suffice  for  the 
earliest  stages  of  culture.  The  subject  of  nota- 
tion and  style  should  be  pursued  in  juvenile  years. 
Children  are  found  to  make  rapid  progress  in  the 
elements  of  music.  The  exercises  are  not  dreaded 
as  tasks ;  but  form  a  pleasant  relief  from  severer 
studies.  They  are  conducive  to  health,  and  to 
gentleness,  and  quietness  of  disposition.  Miscel- 
laneous songs,  filled  with  pleasing  incidents,  good 
sentiments,  and  sound  principles,  social,  moral, 
and  religious,  may  have  a  happy  influence  on  the 
formation  of  character.    But  the  bearing  which 


Sacred  Praise. 


73 


Its  Advanta«;c9. 

this  instruction  has  upon  icligious  music  is  ex- 
ceedingly important.  The  history  of  modern  cul- 
tivation, shows  thus  far,  that  most  of  those  who 
neglect  music  in  early  years,  will  neglect  it 
through  life.  But  let  all  the  children  be  trained, 
and  in  a  few  yeai-s  the  entire  community  may 
unite  in  chorus.  And  then  how  different  would 
be  the  details  of  practice  in  adult  classes.  Every 
thing  elementary  would  not,  as  now,  be  found  to 
enOToss  the  attention.  Adult  schools  miorht  then 
be  "schools  of  the  prophets,"  and  rehearsals  be 
precious  seasons  of  preparation  for  the  worship  of 
the  sanctuary.  The  praises  of  God  can  not  wait 
for  such  a  consummation.  Yet,  if  we  would  be 
thorough  in  the  work  of  improveicent,  we  must 
look  well  to  the  instruction  of  children. 


SECTION  III. 

Devotional  Hnging  in  families — Its  importance — JTeglect — Abnscs — 
Cbaracteristics  and  advantaaef — Influence  upon  congregational  ^ine- 
ing — Parlor  nmsic — Its  influence  ollen  prejudicial — Not  adapted  to 
the  object  before  ns. 

Devotional  singing  must  be  reinstated  in  family 
worship.    The  Bible,  as  well  as  the  practice  of 


74 


Sacred  Praise. 


Praise  in  FamilioB 

primitive  Christians,  is  in  its  favor.  The  Psalm- 
ist says,  "Every  clay  will  I  praise  thee,"  "At 
midnight  will  I  rise  to  give  thanks.'"  The  Apos- 
tle says,  "  In  every  thing  give  thanks,"  "  Giving 
thanks  always."*  Why  should  the  practice  in 
these  later  times  be  so  extensively  laid  aside? 
We  consider  it  a  great  sin  to  neglect  family  pray- 
er, and  truly  it  is  so.  But  is  it  no  sin  to  omit 
offerings  of  praise,  for  mercies  which  we  are  daily 
receiving  in  answer  to  prayer  ?  The  methods  of 
worship  are  both  needed,  and  neither  of  them  was 
ever  intended  as  a  substitute  for  the  other. 

Praise,  rightly  conducted  in  the  family,  proves 
a  delightful  employment.  It  becomes  a  heavenly 
privilege.  It  leads  the  mind  away  for  a  little 
moment  from  the  consideration  of  personal  wants 
and  circumstances,  to  a  contemplation  of  the  per- 
fections, the  works,  and  the  redemptive  and  pro- 
vidential dealings  of  God.  It  gives  enlargement 
to  the  heart.  It  chastens  and  subdues  the  affec- 
tions.   The  language  it  employs  is  remarkable 

*  And  -we  have  seen  what  the  Bible  intends  by  sucli 
directions. 


Sacred  Praise. 


75 


Not  musical  Pi-actice. 

for  spirituality.  It  is  such  as  is  heard  with  holy 
delight  in  the  dwelling-place  ahove. 

We  refer  not  here  to  mere  musical  practice, 
which  is  too  often  substituted  for  real  devotion. 
T\Tiat  we  ask,  is  the  restoration  of  solemn,  spirtiual 
exercises,  to  which  practice,  however  well  con- 
ducted, is  merely  preparatory.  Wrong  habits  that 
have  been  indulged,  it  is  true,  will  not  be  over- 
come without  a  struggle.  The  desired  influence, 
for  a  time,  will  not  be  realized.  The  efforts  at 
first  will  be  too  labored  for  enjoyment.  But 
through  the  Divine  blessino;,  the  issue  will  nlti- 
mately  come.  The  spirit  of  praise  will  then  ac- 
company the  accents  of  the  poetry  and  the  song, 
just  as- the  spirit  of  prayer  accompanies,  and  adds 
interest  to  the  language  of  our  supplications. 

But  what  an  argument  is  the  one  now  before 
us.  The  fonnation  of  right  habits  in  praise  is 
quite  essential  to  the  utility  of  the  exercise,  whether 
at  home  or  in  the  solemn  assembly.  The  heaven- 
ward direction  of  the  mind,  so  essential  to  all  de- 
votion, will  not  be  maintained  without  habitual 
effort.  The  man  who  neglects  family  prayer  will 
find  no  liberty  if  he  attempt  to  pray  in  the  so- 


76 


Sacred  Praise. 


Parlor  Music. 

cial  circle.  If  he  neglects  daily  meditation,  Lis 
thoughts  will  wander  on  the  Sabbath.  He  can 
not  even  give  for  benevolent  purposes  with  Chris- 
tian simplicity  unless,  by  frequent  eflforts  of  the 
kind,  he  fonns  and  sustains  the  habit  of  true  lib- 
erality. It  would  be  strange,  indeed,  if  exercises 
in  praise  were  to  form  an  exception  to  so  fixed  a 
rule  of  influences.  They  evidently  do  not.  The 
man  who  would  any  where  enjoy  exercises  of 
praise  ia  a  Christian  manner,  at  least  if  he  is  a 
singer,  must  be,  day  by  day,  in  the  habit  of  devo- 
tional utterances  in  song.  The  rule  would  seem 
to  be  just  as  positive  as  in  regard  to  prayer. 

The  music  of  the  parlor  is  not  without  its  im- 
portance in  this  coimection.  Though  chiefly  secu- 
lar, it  possesses  some  advantages.  Rightly  or- 
dered, it  becomes  a  pleasant  relief  from  the  bur- 
dens of  care,  and  a  sweet  soother  of  disturbinji 
influences.  It  promotes  kindliness  of  feeling,  vir- 
tuous sensibility,  and  refinement.  There  is  little 
question  among  intelligent  Christians  as  to  its 
utility.  But  what  an  amount  of  practice  is  de- 
manded for  the  maintenance  of  parlor  music ! 
Instruction  is  given  for  years  in  the  acquisition 


Sacred  Praise. 


77 


Its  luflucnce. 

of  skill ;  yet  this  skill  will  be  gradually  diminish- 
ing from  the  very  hour  that  regular  practice  is 
laid  aside. 

All  this  instruction  and  practice  in  parlor  mu- 
sic too,  Ave  fear,  is,  in  the  multitude  of  cases,  of 
little  or  no  advantage  to  devotional  singing.  It 
does  absolutely  nothing  toward  promoting  the  true 
maimer  or  spirit  of  praise.  Ai'tistic  and  devo- 
tional training  in  music  are  often  opposed  to  each 
other.  The  one  would  secure  a  polished  enunci- 
ation at  the  expense  of  language,  the  other  would 
prefer  distinctness  to  mere  euphony.  The  one 
would  dwell  disproportionately  upon  conventional 
gi'aces  and  ornaments  of  style  which  are  destined, 
like  fashions  in  dress,  to  pass  away  and  be  forgot- 
ten; the  other,  rejecting  these,  would  labor  to 
maintain  chaste  simplicity  in  connection  with  the 
more  essential  and  permanent  features  of  style. 
The  one  cherishes  earthly  associations,  the  other, 
those  which  are  heavenly  and  divine.  Of  the  two 
systems  thus  in  conflict,  the  more  popular  one  is 
liable  to  gam  the  ascendancy,  if  not  wholly  to 
displace  the  other.  The  ambition  of  a  doating 
parent  is  ready  to  make  sacrifices.    To  have  his 


Sacred  Praise. 

Parlor  Music. 


daughter  become-a  second-rate  imitator  of  some 
favorite  prima  donna,  he  is  told  to  keep  her  from 
the  practice  of  psalmody.  If  she  is  ever  to  excel 
as  a  songstress,  the  injunction  of  her  teacher, 
reasonable  or  unreasonable,  must  be  obeyed.  This, 
in  large  cities,  is  a  very  common  case,  and  one,  we 
are  sorry  to  say,  which  often  occurs  in  Christian 
families.  The  splendid  instrument  of  the  parlor 
thus  bears  daily  testimony  that  the  claims  of  art 
are  deemed  of  more  importance  to  the  family  than 
the  praises  of  God !  What  should  be  thought  of 
such  a  decision  ?  What  would  angels  think  of  it? 
How  must  it  appear  in  the  light  of  eternity ! 


CHAPTER  VI. 


WHAT  IS  REQUIRED  IN  THE  SELECTION  OP 
TUNES. 

Prevalent  causes  of  dissatisfaction— Old  tunes  vs.  new — Taste  neces- 
Barily  progressive — Cotigreg;ations  and  choirs  should  come  to  an  un- 
derstanding, and  be  governed  by  a  Christian  spirit. 

The  selection  of  tunes  for  public  worship  is  a 
matter  which  in  many  ways  occasions  dissatisfac- 
tion. To  say  nothing  of  the  claims  of  rival  pub- 
lishers whose  livelihood  is,  in  part,  derived  from 
the  sale  of  music-books,  and,  in  consequence  of 
which,  self-interest  sometimes  takes  precedence 
of  sound  judgment  and  enlightened  taste,  we  see 
enough  in  the  circumstances  of  many  congrega- 
tions to  show  that  cordial  unanimity  in  the  selec- 
tion of  tunes  is  not  always  easily  secured.  Pref- 
erences are  various  and  contradictory.  Every  one 
has  his  own  notions.  Those  who  in  earlier  life 
were  leading  singers,  but  have  since  relinquished 
the  practice,  are  generally  in  favor  of  old  tunes 
— ^why  should  not  these  always  be  preferred? 


80 


Sacred  Praise. 


Choice  of  Tunes. 

Such  people  reason  just  as  if  all  progress  in  taste 
had  ceased  at  the  close  of  their  own  efforts.  Yet 
were  they  to  resume  the  practice,  they  would 
cease  their  murmurings.  Clianges  in  selection, 
even  in  then*  own  case,  would  be  found  essen- 
tial. 

Choirs,  too,  are  often  unreasonable  in  this 
matter.  They  have  too  little  regard  for  the  ex- 
isting circumstances  of  the  worshipers.  Higher 
interests  are  involved  than  those  of  personal  con- 
venience or  gratification.  The  people  can  not 
worship  in  a  tune  which  displeases  them.  An 
impression  of  some  sort  is  to  be  made  upon  them. 
Shall  it  be  for  good  or  for  ill  ?  The  Master  of 
Assemblies  proposes  to  receive  the  homage  of  his 
people  —will  it  arise  from  the  lips  of  murmur- 
ers? 

In  all  such  cases  the  parties  should  come  to  a 
mutual  understanding.  The  matter  should  not 
be  deferred.  What  if  there  is  no  outbreak  of 
decided  displeasure?  Devotion  is  hindered  and 
paralyzed ;  and  this  is  a  sufficient  reason  for 
mutual  inquiry  and  condescension.  Such  troubles 
are  not  peculiar  to  the  present  generation.  They 


SACE13D  Praise 


81 


Conflicting  Views. 

have  long  been  known,  and  they  will  continue  to 
occur  while  personal  responsibilitj  in  the  matter 
is  so  imperfectly  apprehended.  If  Christians 
wish  to  be  benefited  by  exercises  in  praise,  they 
must  in  some  way  become  active. 

But  again — cultivators  of  psalmody  are  often 
at  variance  on  this  subject.  Some  are  for  prog- 
ress in  modern  productions.  Others  are  for  chief- 
ly discarding  them.  Some,  in  defiance  of  unlial- 
lowed  associations,  would  bring  forward  strains 
from  the  theater,  from  the  hand-organ,  the  street- 
minstrel,  or  the  hurdy-gurdy.  Others,  on  the 
contrary,  can  see  nothing  devotional  except  in 
the  chants  and  chorals  of  olden  times.  Such 
wide  extremes  do  not  always  exist  in  the  same 
neighborhood,  but  they  are  injurious  and  must 
be  done  away.  Progress  is  needful,  but  it  may 
be  too  hasty  and  in  wrong  directions.  A  venera- 
tion for  the  productions  of  antiquity  has  its  ad- 
vantages, but  it  must  not  be  exclusive.  In 
music,  as  in  painting,  and  poetry,  and  sculpture, 
every  coming  generation  should  be  largely  bene- 
fited by  its  own  productions.  This  is  reasonable : 
it  is  in  accordance  with  the  interests  of  religion 


82 


Sacred  Praise. 


Conflicting  Views. 

as  well  as  with  those  of  taste.  The  sermons  aud 
treatises  of  the  sixteenth  century  may  famish  the 
modern  pulpit  and  press  with  valuable  hints  and 
materials — but  we  prefer  to  use  those  of  our  own 
times  for  ^  instruction.    The  principle  ex- 

tends also  to  hymnology.  Why,  then,  should  we 
go  back  in  our  selections  of  church  music  to  the 
tunes  of  that  period,  when  melody,  after  all,  is 
acknowledged  to  be  a  short-hved,  evanescent 
thing?  Old  hymns  and  old  tunes  should  be 
blended,  to  some  extent,  with  new  ones ;  but  the 
selection  should  have  reference  to  real  utility, 
rather  than  to  age.  Adaptations  from  secular 
music  should  be  received  with  great  caution.  If 
fully  recognized  they  will  have  an  unhallowed 
influence.  A  strain  thus  borrowed  may  appear 
sufficiently  solemn  to  those  unacquainted  with  its 
origin — while  to  others  it  may  bring  nothing 
better  to  mind  than  the  di*amatic  mimicries  of 
worship. 

The  time,  perhaps,  has  not  yet  come  when 
well  ordered  selections  and  arrangements  of 
psalmody  can  be  established.  But  come  it  must 
in  the  progress  of  reform.    Intelligent  Christian 


fcjAOKEI)  PkAISK 


83 


Expciience  must  decide. 

experience  must  be  our  ultimate  guide.  AVhat 
is  thus  found  to  be  of  a  devotional  tendency  can 
be  approved  while  the  rest  is  set  aside.  Such 
difficulties  as  we  are  here  describing  will  then  be 
of  short  duration.  In  the  presence  of  a  sweet 
devotional  spirit,  they  will  disappear  like  mists 
of  the  morning  before  the  rising  sun. 


CHAPTER  VII. 


Methods  of  conducting  Exercises  in  Praise — Confrregational  singing 
not  tlie  only  primitive  Method — ^An  artistic  Quartette,  devotional  or 
aesthetic? — A  volunteer  Choir  rightly  selected  and  conducted — Its 
superior  Advantages — Voices  of  the  Congregation  should  unite  with 
it  to  a  greater  extent — Abuses  many  and  flagrant — Must  be  done 
away. 

The  method  of  conducting  praise,  whether  by 
a  precentor,  or  quartette,  or  volunteer  choir, 
either  with  or  without  accompaniment,  is  a  mat- 
ter about  which,  at  the  present  time,  there  is 
much  diversity  of  opinion  and  practice.  In  some 
instances  the  same  congi'egation  proceed  from 
method  to  method,  almost  with  continued  dissatis- 
faction.   Like  the  man  in  a  fever,  they 

"  Shift  from  side  to  side  by  turns, 
And  'tis  a  poor  relief  they  gain 
To  change  the  place  but  keep  tlie  pain." 

Filled  with  wrong  notions  of  musical  efficiency 
they  try  every  plan  but  the  right  one,  and  con- 
tinue to  be  unsuccessful. 


Sacred  Praise. 


85 


Congregational  Sin^iig. 

Where  there  has  been  much  cultivation,  an 
assembly  may  for  a  while  so  follow  the  lead  of 
a  precentor  as  to  sing  with  decency  and  with 
Christian  satisfaction.  But  the  neglect  of  prac- 
tice which  thence  ensues  necessarily  leads  to 
deterioration  ;  while  many  will  become  so  partial 
to  this  method,  as  to  insist  on  its  continuance 
long  after  it  becomes,  in  the  opinion  of  others, 
unendurable.  Such  is  the  testimony  of  past 
experience.  Tliis  method  has  been  said  to  be 
most  in  accordance  with  the  Scriptures,  and  most 
favorable  to  the  extension  of  individual  privilege. 
But  in  ancient  times  this  was  not  the  sole  method. 
The  singing  was  often  responsive.  In  the  prim- 
itive churches  there  were  also  solo  exercises. 
Paul  does  not  condemn  these,  but  merely  com- 
plains that  they  were  too  numerous  and  irregular. 
Every  man  had  his  particular  psalm,  all  of  whom 
could  not  be  accommodated.  The  argument 
drawn  from  Scripture  pi'ecedent,  therefore,  must 
not  be  pressed  too  far.  We  may  add,  also,  that 
the  extent  of  privilege  in  this  method  has  its 
limits.    Those  who  will  not  learn  to  sing  or  who, 

having  learned,  relinquish  all  practice  in  music,  ^ 
8 


86 


Sacred  Praise. 


A  Quartette. 

social,  and  private,  have  certainly  no  right  to  dis- 
turb the  worshipers  around  them,  by  their  harsh 
utterances.  There  are  many  of  this  class,  par- 
ticularly in  city  congregations.  And  how  they 
can  esteem  it  a  privilege  to  make  such  doleful 
noises  in  the  congregation,  as  they  are  wont  to 
do,  is  more  than  we  can  understand. 

The  method  of  employing  a  quartette  to  lead 
and  sustain  the  voices  of  the  assembly,  possesses 
some  advantages  over  the  one  we  are  considering, 
inasmuch  as  four  voices  are  stronger  than  one. 
These  voices,  however,  must  be  marvelous  in 
power,  if  they  can  harmonize  duly  with  each 
other,  exercise  a  full  control  of  the  assembly,  and 
prevent  the  latter  from  deteriorating  through 
neglect  of  practice. 

The  more  usual  design  of  a  quartette,  is  to 
produce  finer  music  than  could  otherwise  be  ob- 
tained ;  and  that  for  the  gratification  of  a  silent 
auditory.  If  the  performers  are  animated  by  the 
spirit  of  intelligent  Christian  piety,  they  may  so 
sing,  perhaps,  as  to  give  permanent  satisfaction, 
when  this  method  is  greatly  preferred.  But  if 
they  are  of  a  difierent  spirit,  and  are  influenced 


Sacred  Praise. 


87 


A  volunteer  Choir. 

chiefly  by  inferior  considerations,  their  perform- 
ances, morally  speaking,  will  be  mere  sabbath 
concerts  for  the  gratification  of  taste — mere  pro- 
fanation of  praise. 

The  method  of  conducting  praise  by  a  volunteer 
choir  may  be  so  pursued  as  to  secure  every  ad- 
vantage that  can  reasonably  be  desired.  Let 
Christians  take  the  lead  in  this  enterprise,  and 
give  it  the  right  direction.  Let  the  numbers  be 
abundant,  and  be  well  trained.  Then,  if  it  should 
be  desirable,  there  can  be  occasional  solo  utter- 
ances, relieved  and  beautified  by  the  contrasts  of 
a  full  choir.  Let  the  choir  consist  of  persons  of 
influence,  who  will  effectually  sympathize  with 
the  congi'egation.  Let  them  attend  the  evening 
lecture,  acting  there  as  a  choir  in  reality,  though 
not  m  fonn,  leading  the  other  voices  in  some  well- 
know  n  tunes ;  and  let  them  aftenvards  occasional- 
ly sing  at  church,  the  same  humble  strains  of  the 
lecture-room,  with  the  express  undei-standing, 
that  the  congregation  are  then  to  unite  in  general 
chorus.  Such  an  arrangement  has  been  tried, 
and  found  successful.  It  is  no  longer  an  experi- 
ment.   It  has  in  it  all  the  elements  of  durability. 


88 


Sacred  Praise. 


A  volunteer  Choir. 

All  of  its  features  may  be  considered  essential. 
If  Christian  influence  is  withholden,  the  spirit  of 
praise  will  be  wanting.  K  the  numbers  are  too 
few,  they  will  not  succeed  in  controlling  the  voices 
of  the  assembly.  If  they  are  not  well  trained, 
they  will  sing  with  too  little  expression,  and  fail 
to  give  light  and  shade  to  the  various  sentiments 
they  utter.  Above  all,  if  there  is  a  want  of  sym- 
pathy between  the  choir  and  the  worshipers  be- 
low, the  latter  will  derive  little  benefit  from  the 
privilege  of  occasionally  uniting  in  the  general 
chorus.  This  privilege  is  essential.  For  unless 
the  congregation  bear  some  active  part  in  the  ex- 
ercises, they  will  be  less  interested  in  them  ;  and 
they  will  lose  the  advantage  of  that  social  princi- 
ple, which  enters  so  largely  into  the  nature  of 
public  worship. 

The  writer  of  these  pages,  having  been  em- 
ployed fall  half  a  century  in  this  field  of  efibrt 
and  observation,  may  claim  the  right  to  speak 
with  confidence  on  this  subject.  He  has  too  often 
tried  the  plan  he  here  recommends,  not  to  know, 
by  happy  experience,  that  what  he  affirms  con- 
cerning it,  is  abundantly  true.    Let  choirs  be 


89 


Esthetic  Influence?. 

formed  on  any  other  than  a  Christian  basis,  and 
he  has  nothing  to  saj  on  thoir  behalf.  He  will 
not  consent  to  answer  for  their  good  conduct,  their 
unanimity  or  stability.  They  can  not  fully  suc- 
ceed. We  ought  not  to  expect  it.  We  ought,  as 
Christians,  to  know  better  than  to  confide  any  de- 
partment of  religious  worship  to  the  sole  guidance 
of  aesthetic  influences.  It  is  an  abuse  of  hallowed 
things.  Modern  precedent,  however  respectable 
we  may  deem  it,  can  not  be  pleaded  against  the 
plain  precepts  and  examples  of  Scripture.  Those 
who  willingly  and  intelligently  favor  such  an 
abuse  must  answer  it  to  the  i\Iaster  of  Assem- 
blies, whose  cause  they  have  dishonored.  Chris- 
tians should  look  with  devout  solicitude  to  the 
character  of  praise,  as  well  as  to  that  of  preach- 
ing or  prayer. 

But  what  shall  be  said  of  instrumental  music 
in  this  connection?  Its  use  is  fully  s;inctioned 
by  the  word  of  God ;  yet,  like  other  good  things, 
it  is  liable  in  many  ways  to  be  abused.  The 
sound  application  of  Christian  principles  to  this 
department  in  worship  is  destined,  no  doubt,  to 
effect  important  changes.  Instruments  will  then 
8* 


90 


Sacked  Praise. 


Instrumental  Music. 

come,  as  of  old,  to  occupy  an  humble  place,  chiefly 
as  accessories  to  the  human  voice.  They  will  not 
then  be  allowed  to  embarrass  its  utterances,  or  to 
attract  toward  themselves  that  measure  of  atten- 
tion which  is  due  to  the  sublime  and  solemn 
themes  of  praise.  Much  less  will  they  be  made 
objects  of  splendid  attraction  to  draw  an  admiring 
auditory.  But  upon  this  subject  we  need  not 
dwell.  Common  sense  and  Christian  experience 
will  ultimately  suggest  the  needed  improvements. 


CHAPTER  VIII. 

INFLUENCE  AND  CO-OPERATION  OF  PASTORS. 

This  is  indispensable  to  success — Many  considerations  show  this — The 
aid  usually  withholden — Reasons  examined — Objections  obviated — 
Musical  talent  not  here  indispensable — Without  its  advantages,  he 
can  consult  the  Scriptures,  and  bring  forth  their  various  teachings — 
These  as  important  to  praise  as  to  prayer — Not  right  to  neglect  them 
— Old  Testament  precepts,  examples  and  inferences  considered — The 
New  restament  no  less  decided  in  its  teachings — Precepts — Exam- 
ples— Inferences — No  want  of  materials  for  tlie  pastor's  use — The  sub- 
ject should  be  kept  before  the  people — Suggestions  as  to  modes  of 
presentation — Secularizing  notions,  habits,  and  influences  to  be  coun- 
teracted— ^The  present  a  favorable  time — Concerts  and  conventions 
will  not  do  the  pastor's  work — He  must  act,  or  other  efforts  will  fail. 

From  what  has  been  hitherto  said  of  reform 
in  church  music,  it  will  follow  that  pastors  of 
churches,  whether  they  sing  or  not,  have  an  im- 
portant part  to  act  in  this  matter.  We  wish  here 
to  say  nothing  inconsistent  with  that  respect  which 
is  due  to  the  sacred  office.  The  duties  of  that 
office  are,  for  the  most  part,  so  plain  and  so  clear- 
ly revealed,  as  not  to  require  the  aid  of  any  lay 
interpreter.  And  yet,  it  would  not  be  very  won- 
derful if  the  discussion  before  us  should  reveal 
to  the  notice  of  pastors  an  important  field  of  duty 
which,  unhappily,  has  been  but  little  occupied. 


92 


Sacred  Praise. 


Pastors  must  act. 

The  subject  of  church  music  has  been  so  long 
associated  with  artistic  considerations  as  to  render 
it  difficult  to  break  th'e  entanglement.  But  this 
very  thing  must  be  done.  And  who  will  under- 
take it  while  the  pulpit  maintains  its  accustomed 
silence  ?  The  offices  of  praise  and  prayer  have 
been  instituted  by  the  same  authority.  The  Law- 
giver has  not  told  us  that  the  one  is  less  import- 
ant than  the  other.  If  the  subject  of  prayer  had 
been  so  unhappily  combined  with  the  claims  of 
oratory  as  to  prevent  in  great  measure  the  fervor 
and  the  efficacy  of  addresses  at  the  throne  of 
grace,  this  very  fact  would  inevitably  call  forth 
the  teachings  and  admonitions  of  the  pulpit.  The 
clearest  statements  would  be  made,  and  the  most 
careful  discrimination  be  drawn.  Arguments  and 
motives  would  be  brought  to  bear  upon  the  sub- 
ject; and  there  would  be  line  upon  line,  and  pre- 
cept upon  precept,  till  the  people  were  enlight- 
ened and  reclaimed. 

Now  when  we  ask  that  the  same  measure  of 
faithfulness  for  a  similar  reason,  may  be  exerted 
in  reference  to  the  office  of  praise,  do  we  ask  any 
thing  unreasonable?    Could  we  ask  any  thing 


Sacred  Praise. 


93 


This  is  Beasonable. 

less?  The  two  ciises  are  substantially  alike. 
They  both  iuvolve  the  same  moral  question ; 
and  who  hius  told  us  that  the  mockery  of  praise 
is  less  displeasing  in  the  sight  of  God,  than  the 
emptiness  of  lip-service  in  prayer !  The  difficul- 
ties in  which  the  subject  is  involved  are  neither 
intangible  nor  hopeless.  They  do  not  alter  the 
truths  of  the  Bible,  and  they  form  no  impedi- 
ment to  spiritual  interpretation.  The  circum- 
stance that  praise  is  to  be  sung  instead  of  being 
simply  spoken,  does  not  change  at  all  the  spir- 
itual nature  of  the  exercise.  Singing,  in  a  moral 
point  of  view,  as  we  have  shown,  is  but  another 
kind  of  verbal  utterance,  a  more  elevated  method 
of  speech,  which  should  form  as  true  an  index  of 
the  "thoughts  and  intents  of  the  heart,"  as  that 
which  is  demanded  in  social  prayer. 

The  pastor  without  any  practical  acquaintance 
with  music,  can  understand  this  principle  and 
present  it  before  his  people,  and  he  can  discover 
the  heartlessness  and  formality  and  self-ignorance 
and  presumption  which  prevail,  as  well  as  the 
earnestness,  sincerity,  and  spirituality  Avhicb  are 
sometimes  manitested.    Waiving  the  authurity 


94  Sacred  Praise. 

 —  — ■  y  ■  — 

A  Pastor's  Objections 

of  human  traditions  and  making  the  Bible  his 
stand-point,  the  course  before  him  would  seem  to 
be  as  clear  and  as  well  defined  as  in  regard  to 
any  other  point  of  doctrine  or  duty. 

But  many  a  plausible  theory,  we  shall  be  told, 
proves  of  little  value  when  the  experiment  is 
made  of  reducing  it  to  practice.  Unforeseen  ob- 
stacles arise,  and  unexpected  difficulties  occur,  for 
the  removal  of  which  there  is  no  existing  provi- 
sion. This  is  very  true.  It  should  be  borne  in 
mind,  however,  that  the  theory  which  we  ofier  is 
one  which  presents  no  real  novelties.  It  is  a 
theory  which  has  been  fully  tested,  and  one  which, 
in  its  principal  features,  has  a  thousand  times 
been  reduced  to  practice  with  happy  success.  It 
is  also  the  only  one  which  is  thoroughly  in  ac- 
cordance with  the  teachings  of  the  Scriptures. 

We  shall  be  told,  perhaps,  that  laymen  do  not 
understand  the  peculiar  embarrassments  under 
which  a  pastor  is  called  to  labor.  So  many  things 
invite  his  attention  at  once,  that  he  is  obliged  to 
make  his  own  selection.  The  citadel  of  the  ad- 
versary can  not  be  attacked  single-handed  at  all 
points  simultaneously.    Some  will  be  more  vul- 


Sacred  Praise. 


95 


Discussed. 

nerable  than  others,  and  promise  a  richer  and 
more  speedy  return  of  benefits.  And  ■svho  shall 
dictate  to  a  pastor,  at  any  given  time,  how  his 
selection  shall  be  made  ?  True,  very  true.  But 
the  proposition  before  us  is  not  one  of  time; 
though  if  it  were  so,  one  would  suppose  that  the 
delay  of  half  a  century,  on  a  point  of  attack  which 
is  so  vulnerable,  might  more  than  suffice.  What 
we  affirm,  is  simply  that  reform  in  the  office  of 
praise  can  not  be  achieved  without  the  active, 
well-dnected  effi)rts  of  a  pastor ;  and  in  this  posi- 
tion we  expect  to  be  sustained. 

We  have  seen  that  prayerful  consideration 
should  precede  every  attempt  at  reform.  And 
shall  not  the  pastor  take  the  lead  in  this  matter  ? 
Does  it  not  appertain  to  his  office  ?  Who  else,  if 
the  pastor  does  not  do  it,  will  presume  to  call 
the  people  of  his  charge  to  solemn  reflection  and 
prayer  in  reference  to  abuses  in  the  worship  of 
God  ?  We  have  seen  that  Christians  who  are  in- 
fluential, intelligent,  and  spiritual,  must  put  their 
hand  to  this  enterprise.  How  shall  this  be  done, 
if  their  constituted  leader  in  spiritual  things  re- 
mains silent  and  inactive?    We  have  seen  that 


96 


Sacred  Praise, 


A  Pastor's  Objections 

eflTorts  must  be  based  upon  the  teachings  of  the 
Bible.  Who  but  the  pastor  can  bring  these  effec- 
tually to  bear  upon  the  people,  and  secm-e  for 
them,  throuorh  the  Divine  blessino;.  an  abiding;  in- 
fluence?  We  have  seen  that  the  character  of 
schools  and  rehearsals  must  be  essentially  im- 
proved. Who  -will  cast  the  salt  of  religious  in- 
fluence into  those  fountains,  if  the  pastor  perse- 
veres in  neglecting  them?  And  how  shall  the 
right  instruction  of  children  in  church  music  be 
secured;  and  how  shall  selections  of  tunes  be 
regulated,  if  the  pastor  will  have  nothing  to  say 
or  do  regardincf  these  interests?  Tlie  slightest 
reference  to  such  topics  as  these,  will  more  than 
sufiSce  to  show  that  refonn  is  in  the  natui-e  of 
things  impracticable,  unless  the  pastor  engages  in 
it.  The  effort  has  often  been  made  by  individuals 
and  churches,  but  never  with  permanent  success, 
it  is  believed,  where  a  pastor's  influence  has  been 
withholden.  Art  may  gain  its  pui-poses  without 
him,  yet  not  in  this  connection,  without  trespassing 
upon  the  claims  of  spirituality.  The  true  spirit 
of  praise  will  no  sooner  exist  without  cultuie, 
tliiiii  will  the  spirit  of  Ijclieviug  supplication. 


Sacked  P  ii,  a  i  s  k 


97 


Discussed. 

Both  of  these  are  necessary  to  acceptable  wor- 
ship ;  and  both  are  worthy  of  pastoral  effort  and 
solicitude. 

But  we  shall  be  told  that  great  difficulties  may 
arise  from  a  pastor's  interference  with  the  sing- 
ing. Some  of  the  fathers  in  the  ministry  have 
enjoined  it  upon  their  younger  brethren  to  "  have 
nothing  to  do  with  the  singing,"  lest  it  should 
endanger  their  influence,  and  involve  them  in 
troubles  and  contentions. 

Now  that  very  serious  difficulties  have  often 
arisen  in  this  connection,  no  one  will  presume  to 
deny;  and  that  pastors  have  sometimes  acted 
wisely  in  standing  aloof  from  therti,  for  a  sea- 
son, is  equally  obvious.  But  what  has  been  the 
origin  of  such  difficulties  ?  Doubtless  they  may 
all  be  traced  to  the  wide  prevalence  of  wrong 
principles.  Were  we  to  imagine,  for  example, 
that  elocution  is  the  chief  desideratum  in  preach- 
ing, and  in  public  and  social  prayer,  and  that 
those  who  acquire  the  greatest  skill  in  that  art, 
iare  the  very  fittest  persons  to  officiate  in  such  ex- 
jercises,  we  would  soon  involve  ourselves  in  inex- 
tricable difficulties.  Sustaining  choii'S  on  a  simi- 
9 


98 


Sacred  Praise. 


A  PasWs  Objections 

lar  principle,  and  then  treating  them  with  alter- 
nate neglect  and  severity,  may  well  occasion 
trouble.  It  has  often  done  so,  and  the  end  is  not 
yet.  The  troubles  are  destined  to  increase,  til?, 
right  principles  prevail ;  and  for  the  inculcation 
of  these,  we  must  look  to  the  influence  of  the 
pulpit. 

If  there  really  were  any  thing  in  music,  which 
could  lessen  obligations  to  sincerity  in  exercises 
of  praise ;  if,  as  some  would  have  us  suppose, 
there  is  in  music  itself,  a  semi-Divine  efiiciency, 
which  might  go  far  toward  securing  right  influ- 
ences independently  of  right  intentions  in  the  sing- 
ers, we  might  find  it  more  difiScult  to  show  that 
the  much  honored  clergy  who  neglect  this  entire 
subject,  are  not  occupying  a  tenable  position ;  and 
probably  it  was  some  prevailing  notion  of  the  sort 
which  led  them  to  assume  this  position.  But 
there  is  no  such  efficiency,  as  has  been  pretended 
The  idea  is  erroneous.  It  is  absurd.  It  should 
be  driven  from  Christian  society,  and  banished  to 
the  shades  of  modern  infidelity,  where  it  appro- 
priately belongs.  There  is  not  the  slightest  foun- 
dation for  it  to  rest  upon.    For  every  purpose  of 


Sacred  Praise. 


99 


Discussed. 

moral  discussion,  religious  music  may  be  regarded 
as  a  species  of  consentaneous  oratory,  so  ordered 
that  numbers  may  unite  harmoniously,  in  the 
same  sounds,  givins;  emotional  utterance  to  the 
great  themes  of  the  gospel.  Mere  music,  it  is 
true,  has  the  power  to  />/ea5e,  independently  of 
verbal  utterance.  It  is,  therefore^  used  in  volun- 
taries and  symphonies,  in  preparation  for  that 
which  is  better.  But  in  religious  worship,  it  is 
of  secondary  import.  The  case  being  thus,  the 
moral  bearings  of  the  subject  are  seen  at  a  glance; 
and  it  requires  no  uncommon  wisdom,  or  practical 
knowledge  in  music,  to  bring  them  before  the 
community. 

There  is,  however,  another  objection,  which 
deserves  to  be  considered,  as  it  often  exerts  much 
influence  on  the  decisions  of  a  pastor,  in  relation 
to  this  subject.  Sacred  music  has  formed  no  reg- 
ular department  in  theological  education.  The 
subject  of  praise  has  been  treated  chiefly  in  the 
abstract.  The  teachings  of  the  Bible  on  this  sub- 
ject are  not  difi'use ;  and  where  is  the  pastor  to 
obtain  the  necessary  materials  for  such  a  course 
of  instruction  as  he  might  wish  to  pursue  ? 


100  Sacred  Praise. 

Teachings  of  the  Bible. 

In  reply  to  this  objection,  we  would  say  that 
it  has,  in  part,  been  the  object  of  this  appeal  to 
supply  the  necessary  materials.  We  have  endea- 
vored to  present  a  suggestive  train  of  thought, 
which  may  bear  expansion.  The  topics  have  not 
been  exhausted ;  and  the  mere  enumeration  will 
naturally  bring  others  to  mind.  But  let  us  spend 
a  moment  upon  the  more  direct  contemplation  of 
these  materials. 

The  office  of  praise,  as  beheld  in  the  Scriptures, 
furnishes  abundant  matter  for  thought  and  inves- 
tigation. The  nature  of  praise,  as  we  have  seen, 
needs  to  be  carefully  explained,  according  to  the 
Scriptures,  and  to"  be  kept  prominently  before  the 
mind  of  the  worshipers.  And  this  is  the  more 
necessary,  because  of  the  wide  prevalence  of  the- 
oretical and  practical  errors  in  relation  to  it. 
Apostolic  instructions  to  this  end,  though  very 
brief,  are  explicit,  and  directly  in  point.  They  are 
easily  explained  and  illustrated,  as  we  have  seen, 
and  there  is  scarce  a  possibility  of  misinterpreta- 
tion. They  accord  at  once  with  the  spiritual 
nature  of  our  religion,  witli  the  pure  and  exalted 
nature  of  the  themes  of  song,  and  with  the  many 


Sacred  Praise. 


101 


Themes  of  Song. 

insti-uctive  examples  of  praise  contained  in  the 
blessed  volume. 

It  should  be  kept  before  the  mind  of  the  wor- 
shipers, that  in  praise  just  as  in  prayer,  God 
looketh  upon  the  heai't.*  Tlie  themes  of  praise 
are  various.  Some  of  them  are  meditations,  or 
narrations,  or  descriptions,  or  addresses  to  saints 
or  sinners.  Yet  they  are  all  intended  to  be  ut- 
tered forth  in  the  immediate  presence  of  the 
Searcher  of  Hearts ;  and  whether  the  utterance  is 
directed  to  God,  or  whether  it  is  addressed  to  our 
own  souls  or  the  souls  of  others,  the  requirement 
is  all  the  same.  We  are  to  worship  in  spirit 
and  in  truth.  Yet  many  of  the  themes  of  relig- 
ious song,  are  more  lofty,  more  hallowed,  and 
more  momentous  than  the  language  we  ordinarily 
employ  in  public  or  social  prayer.  What  noble 
specimens  are  contained  in  the  book  of  Psalms,  in 
the  prophecies  of  Isaiah,  and  in  the  book  of  Reve- 
lations. What  preparation  of  heart,  what  com- 
mitment of  soul  they  require !  The  very  utter- 
ances of  heaven  have  come  down  to  us,  that  we 

*  This  truth  will  be  best  appreciated,  when  Christians 
act  as  if  they  believed  it. 

0* 


102 


Sacred  Praise. 


Teachings  of  the  Bible. 

may  catch  something  of  their  spirit,  and  send 
back  our  hallowed,  though  feeble  responses. 
While  such  themes  as  these  form  the  subject  of 
pulpit  discourse  or  exhortation,  how  easy  it  would 
be  to  di-aw  instructive  inferences  in  regard  to  the 
duty  or  the  privilege  of  praise ;  or  to  inquire 
whether  we  are  not  liable  in  many  ways,  to  in- 
jure such  language  in  our  songs ;  or  to  point  out 
some  of  the  obvious  hindiances  to  devotional  en- 
joyment in  this  connection :  or  to  show  how  urg- 
ent is  the  necessity  of  schooling  our  hearts,  in 
reference  to  utterances  in  religious  song.  A  few 
hints  at  a  time,  suggested  by  the  use  of  such 
themes  in  sermonising,  would  serve  to  make  salu- 
tary and  durable  impressions.  Or  take  the 
Psalmist's  multiplied  and  earnest  exhortations  to 
praise,  enforced  as  they  are  by  apostolical  author- 
ity. Shall  we  look  upon  these  as  mere  poetic 
exclamations  ?  Or  shall  we  regard  them  as  urg- 
ing us  to  the  faithful  discharge  of  an  important 
duty,  and  the  enjoyment  of  a  precious  privilege  ? 
The  Scriptures  abound  with  such  sources  of  in- 
struction as  these ;  and  doubtless  tbey  will  prove 
amply  suggestive. 


Sacred  Praise.  lOS 

Its  Examples. 

Nor  are  Scripture  examples  of  praise  less  re- 
markable or  suggestive.    The  song  of  gratitude 
at  the  Red  Sea  was  not  an  old  one,  rendered  ven- 
erable by  time-honored  associations,  but  a  new- 
one  in  all  its  freshness  of  interest,  adapted  to  the 
special  occasion.    The  people  were  not  then  en- 
gaged as  mere  amateurs  in  musical  practice  or  in 
aesthetic  personations.    They  just  spoke  forth  in 
impressive  language  their  gratitude  for  deliver- 
ance, when  "the  horse  and  his  rider  had  been 
thrown  into  the  sea !"    They  meant  to  be  under- 
stood as  speaking  in  good  earnest  their  own  senti- 
ments and  feelings.    Many  of  the  most  precious 
of  the  inspired  Psalms  had  a  similar  origin,  refer- 
ring to  some  particular  event  or  occasion.  The 
worshipers  were  not  formalists  or  amateurs.  They 
were  not  in  the  habit  of  using  old  or  new  pieces 
exclusively ;  they  seem  to  have  employed  lo  some 
extent  the  talent  of  every  generation  in  the  pro- 
duction of  new  ones.    Witness  also  the  ark  on  its 
way  to  the  city  of  David.    Who  were  leaders  in 
praise  on  this  occasion?    Childi-en  and  youth, 
with  a  few  uninfluential  members  in  society  ?  No. 
Tlie  consecrated  Levites  and  priests  stood  fore- 


104  Sacred  Praise. 

Teachings  of  the  Bible. 

most,  with  the  kino;  at  their  head.    What  a  dig- 
nity  and  importance  ■was  thus  given  to  the  exer- 
cise !    This  was  right.    When  God  is  to  be  hon- 
ored, we  should  do  our  utmost  in  the  celebration 
of  His  praise.    A  fellow-worm,  when  receiving 
public  honor,  would  not  be  satisfied  with  the  tes- 
timony of  a  few  unimportant  voices.    "  Offer  it 
now  unto  thy  governor :  will  he  be  pleased  with 
thee,  or  accept  thy  person?"    We  are  all  wrong 
in  this  matter.    God  is  to  be  either  honored  or 
dishonored  in  the  offerings  of  praise.    If  the  for- 
mer, then  let  us  have  the  best  talent  and  influence 
which  the  church  can  possibly  command.    In  the 
case  before  us,  the  man  after  God's  own  heart  felt 
it  his  privilege  to  take  a  most  active  part  in  the 
song.    Though  a  king,  he  was  not  afraid  of  such 
conspicuity.    He  acted  nobly;  and  his  example 
was  recorded  for  the  instruction  of  subsequent 
generations.    There  was  a  lofty-minded  one,  how- 
ever, who  felt  scandalized  at  the  undignified  de- 
portment of  the  king.      How  glorious  was  the 
king  of  Israel,"  said  she,  sneeringly,  after  she 
beheld  the  train.    And  how  many  an  earthly- 
minded  one  of  the  present  day  might  be  fear- 


Sacred  Praise. 


105 


A  Dedication  Song. 

fully  rebuked  by  a  reference  to  this  exam- 
ple. 

Still  greater  interest  was  attached  to  exercises 
in  praise  at  the  dediciition  of  the  first  temple. 
The  glorious  symbol  of  the  Divine  presence  was 
not  given  when  the  ark  was  deposited  in  the  holy 
of  holies,  but  at  the  glad  moment  when  the  song 
arose,  "  For  his  mercy  endureth  forever."'  Then 
it  was  that  the  "glory  of  the  Lord  filled  the 
house,"  and  shone  so  transcendently  that  even 
"the  priests  could  not  stand  to  minister.''  This 
is  not  to  be  regarded  merely  as  a  part  of  the 
splendid  ceremonies  of  a  typical  dispensation; 
there  is  a  moral  lesson  in  it  as  distinct  and  sig- 
nificant as  that  which  attends  the  dedicatory 
prayer.  The  words  of  that  .song  have  come  down 
to  us  with  a  greater  amplitude  of  meaning  under 
the  gospel  dispensation ;  and  shall  we  now,  Ijy  a 
negligent  or  by  an  Eesthetic  treatment,  virtually 
reduce  them  to  commonplace?  Is  it  right  to  neu- 
tralize the  influence  of  themes  and  sentiments 
which  have  been  so  honored  by  the  God  of  Israel? 
Reliorious  song  is  destined  to  have  its  fullest  sior- 
nificiJ.nce  in  days  of  gospel  privilege,  and  to  be- 


106 


Pi  \  CUED  Praise. 


Teachings  of  the  New  Testament 

come  a  livelier  and  more  impressive  type  of  the 
worship  of  the  redeemed  in  heaven. 

The  New  Testament  is  not  without  its  exam- 
ples. The  choir  of  angels  at  the  Nativitj  were 
not  Jews  engaged  in  typical  representations.  The 
closing  exercise  at  the  institution  of  the  Lord's 
Supper  was  not,  at  that  solemn  moment,  a  mere 
aesthetic  one,  or  one  distinguished  for  dullness  or 
formality.  Paul  and  Silas,  in  the  depths  of  a 
dismal  dungeon,  with  their  backs  unwashed  from 
the  scourgings  of  persecution,  were  not  engaged 
in  mere  musical  practice  or  in  giving  a  soiree, 
when  the  quaking  earth  so  miraculously  respond- 
ed to  their  strains.  And  in  the  visions  of  the 
Apocalypse  none  seem  to  have  borne  a  more  ani- 
mated and  conspicuous  part  in  the  songs  of  heav- 
enly joy  than  those  who  had  learned  the  "new 
song''  of  redeeming  love. 

Such  examples  are  numerous  and  suggestive. 
Beheld  in  the  Bible,  their  influence  seems  quite 
irresistible.  But  when  we  compare  them  with 
the  maxims,  and  details,  and  influences  of  modern 
times,  the  temptation  is  to  reconsider,  to  rclin- 
i[\v.<h  our  convictions  of  the  truth,  to  consult  the 


Sacred  Praise 


107 


Not  to  be  disregarded. 

traditions  of  men,  and  to  listen  to  empty  declama- 
tions on  musical  eflSciency ;  and  then,  to  become 
skeptical  about  such  pretensions,  to  confess  igno- 
rance, and  to  conclude  that  the  spirit  of  praise  is 
never  again  to  be  revived.  But  all  this  is  wrong. 
To  the  law  and  to  the  testimony.  Let  God  be 
true,  though  every  man  were  to  prove  a  liar. 
Most  solemn  and  impressive  are  the  teachings  of 
the  Scriptures  in  regard  to  praise ;  and  the  time 
is  coming  when  these  teachings  will  be  appreci- 
ated, and  when  songs  of  holy  joy  will  be  heard 
"from  the  uttermost  parts  of  the  earth." 

By  the  brief  selection  of  Scripture  materials 
here  presented,  it  is  easy  to  perceive  that  the 
blessed  volume  is  not  deficient  in  its  teachings 
upon  the  subject  before  us.  How  to  divide  the 
word  rightly,  to  bring  forth  treasures  new  and  old, 
and  to  give  to  each  a  portion  in  due  season,  is 
doubtless  a  matter  which  calls  for  study  and  re- 
flection; and  it  is  worthy  of  being  thus  enter- 
tained. The  subject  must  in  various  ways  be 
kept  before  the  mind  of  the  people,  till  wrong 
principles  and  arrangements  concerning  it  are 
banished  from  the  churches,  and  right  views  and 


108 


Sacred  Praise. 


An  Example  of  Declension. 

purposes  are  fully  restored.  Give  to  music,  as 
an  art,  its  due  consideration.  Encourage  it. 
Deny  it  not  any  of  its  masterly  achievements. 
Exercise  liberality  toward  its  admirers  and  culti- 
vators. Indulo;e  no  evil  surmisin";s  aorainst  it. 
But  when  it  comes  into  the  church  with  mistaken 
pretensions,  confounding  aesthetics  with  spiritu- 
alities, let  the  mistake  be  detected,  and  exposed 
and  censured,  if  need  be,  till  its  blinding,  and 
chilling,  and  deadenins;  influences  shall  be  with- 
drawn  and  counteracted. 

Here  is  the  place  to  begin.  Just  here  the  sub- 
ject labors,  and  will  continue  to  labor,  till  the 
much  loved  and  honored  clergy  will  be  convinced 
that  they  have  solemn  instructions  to  give,  which 
have  been  too  long  withholden.  Nor  is  the  Bible 
deficient  in  its  teachings,  as  to  this  very  point. 
Notwithstanding  the  wonderful  displays  at  the 
dedication  of  the  temple,  there,  unhappily,  came 
a  period  in  the  history  of  Solomon,  when  he  '''' gat 
to  himself  men-singers  and  women-singei-s,  and 
musical  instruments  of  all  sorts,  so  delightsome 
to  the  sons  of  men."'  He  became  an  amateur,  it 
would  seem,  where  he  should  have  been  a  wor- 


Sacred  Praise. 


109 


.   Love  of  Art. 

sliiper.  Esthetics  invaded  the  province  of  spi- 
ritualities. No  wonder  he  was  led  to  cry  out 
"  Vanity  of  vanities — all  is  vanity  and  vexation 
of  spirit."  But  this  was  not  his  only  mistake. 
He  became,  it  appears,  too  exclusively  addicted 
to  music  as  an  art.  This,  of  course,  would  lead 
to  fastidiousness,  to  disappointment  and  satiety. 
The  art  was  given  to  us  for  better  purposes  than 
those  of  amusement  or  ostentation.  Solomon  has 
in  this  respect,  we  fear,  many  imitators  among 
Christian  professors  of  the  present  day.  They 
need  not  wonder  that  their  fondness  for  art,  to  the 
neglect  of  devotional  singing,  is  rewarded  with 
barrenness  of  spnitual  enjoyment.  The  king,  too, 
might  have  imagined  for  a  time  that  there  was  a 
divinity  in  art,  which  might  be  worshiped. 

Again  we  say,  it  is  just  here  that  the  subject 
labors.  Efforts  are  too  exclusively  put  forth  at 
the  present  time,  for  the  increase  of  music  as  an 
art.  Schools,  and  concerts,  and  conventions,  and 
lectures,  are  doing  much  which  is  commendable. 
But  is  the  evil,  to  which  we  refer,  at  all  lessened 
by  the  wonderful  increase  of  effort  and  of  zeal  ? 

We  think  not.    We  think  it  is  increasing,  and 
10 


110 


Sacred  Praise. 


Taste  and  Devotion 

that  it  will  continue  to  increase  till  teaching-s  from 
the  desk,  to  which  we  have  referred,  are  brought 
fully  to  bear  upon  the  public  roind.  The  grati- 
fication of  taste,  to  some  extent,  as  we  have  seen, 
legitimately  combines  itself  with  devout  utter- 
ances of  praise.  But  if,  in  our  artistic  ardor,  we 
seize  upon  the  one  to  the  neglect  of  the  other,  we 
are,  doubtless,  preparing  in  all  haste  to  make 
shipwreck  of  devotional  interests.  The  few  faint 
exhortations,  which  are  heard  in  schools,  in  con- 
certs, and  conventions,  will  be  easily  drowned  in 
the  overflowings  of  musical  harmony.  The  pul- 
pit must  speak,  or  other  appeals  will  be  powerless. 
It  should  speak  ere  the  present  season  for  strong 
impressions  shall  have  passed  away.  Now  while 
artistic  improvements  of  every  character  are  joint- 
ly promoted,  amid  the  joyous  greetings  at  con- 
certs and  conventions,  the  danger  is  that  moral 
and  religious  distinctions,  which  are  vital  to  the 
interests  of  devotional  music,  will  more  than  ever 
be  lost  sight  of  and  forgotten.  The  presence  of 
clergymen,  on  these  occasions,  will  not  prevent 
such  an  issue.  The  tendencies  are  strong,  and 
irresistible  by  such  appliances.    The  people  at 


Sacred  Praise 


in 


Properly  Combined- 

large  must  be  enlightened ;  and  the  pulpit,  hither- 
to neglectful  of  this  topic,  must  speak  forth 
in  its  scriptural  teachings  and  admonitions,  if 
the  threatening  evil  is  to  be  averted.  Something 
can  be  effected  bj  private  exertions  :  but  these 
alone  mil  not  suffice. 


CHAPTER  IX. 


PRACTICAL  DIFFICULTIES. 

How  these  are  to  be  obviated — Those  of  the  least  magnitude  occur  In 
various  fields — Among  heathen  converts — Among  the  slave  popula- 
tion— In  new  settlements — In  settlements  more  densely  populated — 
Amongjealousies  and  contentions — When  the  leading  talent  is  out 
of  the  church. 

Havixu  sliown  the  principal  causes  of  declen- 
sion in  praise,  and  pointed  out  the  means  of  restor- 
ing the  appropriate  characteiistics  and  influences; 
it  remains  for  us  to  give  our  remarks  a  more 
practical  bearing.  To  have  shown  that  certain 
things  ought  to  be  done,  and  hj  what  means  they 
might  generally  be  accomplished,  will  not  suffice 
for  all  the  pui-poses  of  this  appeal.  The  actors 
will  often  be  placed  in  such  circumstances,  as  not 
to  perceive  exactly  how  they  should  commence 
operations.  Let  us  then  contemplate  some  of  the 
fields  of  effort,  and  see  what  light  can  be  thrown 
upon  them.  We  begin  where  little  is  to  be  done, 
and  pass  to  fields  which  are  more  perplexing. 


Sacrejj  Praise. 


IIB 


Fields  of  Effort. 

1st.  Missionaries  to  an  unlettered  people  have 
often  been  in  a  dilemma — obliged  to  set  Christian 
hymns,  either  to  native  melodies,  stained  with 
impure  associations,  or  to  set  them  to  the  melodies 
of  a  civilized  land,  which,  for  a  time,  would  be 
neither  appreciated  nor  enjoyed.  The  latter 
method,  we  believe,  has  been  usually  pursued, 
and  with  good  reason.  Yet,  were  it  not  for  bad 
associations,  the  native  melodies  would,  for  a  time, 
be  preferable.  Taste  must  be  formed  gradually. 
A  marked  distinction  should  here,  as  well  as  in 
every  other  field,  be  preserved  between  the  ex- 
ercises of  drilling  and  devotion.  This  requires 
great  care. 

2d.  Among  the  slaves  at  the  South,  little  at 
present  can  be  done  toward  improving  the  man- 
ner of  praise  except  by  oral  examples.  Simple, 
outspeaking  melodies,  with  pure  associations,  and 
which  readily  admit  of  an  emotioiml  utterance  of 
words,  should  here  be  cultivated.  The  hymns, 
however,  should  not  be  so  much  used  in  mere 
practice  as  to  destroy  their  freshness  or  lessen 
their  interest.  Some  hackneyed  stanza  or  some 
10* 


114 


Sacred  Praise. 


Fields  of  Effort. 

one  of  the  music-syllables  would  be  best  for  prac- 
tical purposes. 

3d.  In  new  settlements,  where  the  population 
is  scattered,  and  where  few  musical  advantages 
are  enjoyed,  little  can  be  done  in  the  first  instance 
but  to  lay  a  good  foundation  for  future  improve- 
ment. A  full,  distinct,  earnest,  vocal  delivery 
should  be  secured  in  connection  with  tunes  al- 
ready familiar.  Some  of  these  will  be  offensive 
to  good  taste,  but  better  ones  can  be  gi'adually 
substituted  in  their  place.  Vulgarities  on  the 
one  hand,  and  extreme  refinements  on  the  other, 
should  be  equally  avoided  as  unfavorable  to  de- 
votion. A  pastor's  services  would  here  be  very 
beneficial,  especially  as  the  earliest  teachers  in 
such  places  are  usually  superficial.  A  little 
drilling  upon  vowels  Avill  improve  the  tone  of 
voice,  and  practice  upon  consonants  will  improve 
the  articulation.  Accent,  emphasis,  momentary 
pauses,  management  of  the  breath,  and  other 
things  which  relate  to  vocal  delivery,  can  be  in- 
culcated gradually,  in  a  simple  way,  as  far  as  op- 
portunity allows.    To  this  end  a  pastor  need  pos- 


Sacred  Praise. 


115 


Fields  of  Effort. 

sess  very  little  knowledge  of  music.  *  Great  care, 
however,  must  be  exercised  in  the  government  of 
thoughts,  and  feelings,  and  purposes,  in  regard 
to  exercises  of  praise  even  in  times  of  practice,  if 
the  spirit  of  praise  is  to  be  promoted.  Practice 
should,  in  this  respect,  correspond  with  theory. 
The  danger  is,  that  the  nicer  points  in  style  will 
occupy  too  much  the  attention  of  the  worshipers. 

4th.  In  older  settlements,  even,  where  the  pop- 
ulation is  comparatively  dense,  the  singing  is  often 
very  poor.  Teachers  are  deficient,  and  schools 
are  infrequent  and  disorderly.  The  general  no- 
tion that  "  /i.nsic  is  a  good  thing  for  society,  and 
an  important  part  of  the  worshi}),"  is  not  ac- 
companied with  an  abiding  conviction  of  duty  or 
obligation.  Untold  abuses  prevail  at  rehearsals 
and  at  church,  while  the  performances  of  the  choir 
are  apparently  as  unmeaning  and  heartless  as  the 
mummeries  of  a  heathen  temple.  This  is  no  pic- 
ture of  the  fancy,  but  one  which  is  often  seen  as 
a  living  reality. 

But  since  all  parties  ai'e  in  fault,  as  well  as 
greatly  deficient  in  information,  the  pastor's  course 

*  Suuh  kncnvledgo  would  gi-uatly  add  tu  his  u.sct'uluess. 


116 


Sacred  Praise. 


Fields  of  Effort 

is  a  plain  one.  He  can  pursue  his  Scriptural  pre- 
sentations of  the  subject  without  appearing  invidi- 
ous. His  first  object  should  be.  not  to  descant 
ujDon  abuses,  but  to  awaken  in  the  church  a  true 
and  abiding  sense  of  her  responsibility.  He  can 
at  the  same  time  do  much  toward  this  result  by 
making  fi'equent  calls  at  the  practice-room,  leav- 
ing there  a  pleasmg  yet  hallowed  influence ;  and 
he  can  do  much  by  his  deportment  in  the  pulpit 
during  exercises  of  pi-aise.  The  choir,  ha^ong 
sinned  ignorantly,  should  not  be  denounced  as 
public  offenders :  nor  should  the  fiist  attack  be 
made  upon  ignorant  and  unprincipled  teachers 
who  sometimes  infest  such  places.  Christians 
have  been  remiss.  Let  them  ingenuously  ac- 
knowledge their  fault,  and  so  qualify  themselves 
to  become  leaders,  that  others  will  consent  to  fol- 
low them. 

5th.  The  same  general  course  should  be  pur- 
sued where  divisions  in  sentiment  and  practice 
prevail,  or  where  jealousies,  contentions,  and  ani- 
mosities abound.  Such  things  could  not  exist  if 
one  party  only  were  in  fault.  Ignorance  of  re- 
sponsibility, as  well  as  derehction  of  principle,  lies 


Sacred  Praise.  117 

Pulpit  Appials. 

at  the  foundation  of  the  difficulties.  The  pastor 
need  not  become  a  partisan.  In  the  course  of  his 
instructions  he  can  say  to  all,  as  an  apostle  did  to 
the  Corinthians,  ' '  And  I,  brethren,  could  not 
speak  unto  you  as  unto  spiritual,  but  as  unto  car- 
nal, even  as  unto  babes  in  Christ."  Where  all 
parties  are  in  fault,  and  where  the  church  takes  its 
full  share  of  the  blame,  difficulties  may  gradually 
be  obviated.  The  prevalence  of  Christian  princi- 
ple, of  Christian  feeling,  and  of  Christian  activity, 
will  produce  a  wonderful  influence.  People  who 
have  been  religiously  educated  will  feel  the  power 
of  such  an  influence.  Wbat  would  they  think  of 
such  contentions  as  they  are  witnessing,  if  these 
had  reference  to  the  promotion  of  prayer-meet- 
ings ?  Such  a  question  timely  presented  would 
not  be  lost  upon  them.  Much  patience  may  be 
required  before  instructions  from  the  pulpit  will 
produce  their  desired  effect.  They  must  be  pre- 
sented in  affectionate  meekness,  "line  upon  line, 
precept  upon  precept ;  here  a  little,  and  there  a 
little,"  till  prejudice  can  be  gradually  undermined 
and  truth  be  made  apparent.  One  thing  is  cer- 
tain.   Let  people  duly  cultivate  the  spirit  of 


118 


Sacred  Praise. 


Unchristian  Leaders 

praise,  and  they  will  not  quarrel  about  the  marv- 
ner  of  it. 

6th.  Is  it  not  a  shame  that  churches,  by 
their  own  neglect,  are  so  often  di-iven  to  seek 
"aliens  from  the  commonwealth  of  Israel"  to 
LEAD  them  in  the  songs  of  salvation?  This, 
surely,  is  a  sad  incongruity.  If  music  alone 
could  build  up  the  spiritualities  of  the  sanctuary 
just  as  brick  and  mortar  has  built  the  walls  of  it, 
the  plan  might  answer.  But  as  it  has  no  such 
power,  the  practice  is  inconsistent.  There  could 
be  no  necessity  for  it,  if  Christians  would  do  their 
duty.  The  remai'k  applies  to  instruments  as  well 
as  to  voices.  In  neither  case  can  the  control  of 
the  exercises  proceed  from  merely  aesthetic  agen- 
cies without  compromiting  the  interests  of  devo- 
tion. We  speak  js/am/i/ on  this  subject;  yet  we 
speak  fearlessly,  for  our  language  is  in  accordance 
with  the  teachings  of  inspiration  and  the  dictates 
of  enlightened  experience.  K  such  a  measure  has 
for  a  time  been  needed,  let  the  church  awake  to 
tlie  true  remedy.  There  is  no  necessary  defi- 
ciency of  talent  among  its  members.  It  should  be 
drawn  foith  and  matured  by  culture.  Churches 


Sacred  Praise. 


119 


Should  be  Superseded. 

should  act  upon  this  subject.  What  if  pastors 
were  to  tell  them  so?  Possibly  non-professora 
might  demur.  Then  let  instruction  begin  further 
back,  and  show  from  the  Scriptures  the  para- 
mount importance  of  spiritual  qualifications  in 
those  who  give  character  to  the  songs  of  the 
sanctuary. 


CHAPTER  X. 


THE  SUBJECT  CONTINUED. 
SECTION  I. 

Greater  difficnlties — Strong  prejudices  against  innovation — Origin  of 
these — Not  to  be  wantonly  violated — May  be  gradually  undermined — 
Certain  methods  successful. 

A  LARGE  class  of  churches,  owing  to  some  for- 
mer prevalence  of  artistic  abuses,  have  become 
extremely  prejudiced  against  innovations  in  the 
way  of  improvement.  No  very  important  change 
has  taken  place  for  some  centuries  past.  The 
hymns  in  many  cases  are  quite  destitute  of  lyric 
character,  while  the  tunes  are  so  inappropriate  to 
the  sentiments  of  the  language,  and  so  miserably 
sung,  as  to  neutralize  the  tendencies  to  devotion. 
The  people,  however,  long  accustomed  to  these 
rude  utterances,  derive  some  pleasure  from  them, 
and  persist  in  maintaining  them.  Few  fields  of 
labor  are  so  difficult  as  these.  Yet  even  here 
something  may  in  time  be  effiicted.    By  the  ju- 


Sacred  Praise. 


121 


Prejudices. 

dicious,  patient,  gi*apliic  exhibitions  of  truth,  the 
prejudices  may  be  gradually  undermined.  Ref- 
erence should  be  had  to  the  precepts  and  examples 
of  Scripture.  Comparisons  should  be  di-awn  be- 
tween exercises  in  praise  and  prayer.  These 
would  serve  to  show  up  the  abuses  in  their  proper 
light.  A  mere  reference  to  the  habits  and  to  the 
general  appearance  of  the  assembly  would  suiSce 
to  show  that,  comparatively  speaking,  "the  glory 
has  departed."  And  when  the  church  are  in 
some  measure  awake  to  the  subject,  a  few  meet- 
ings can  be  held  for  general  improvement.  Some- 
thing then  can  be  done  in  the  way  of  practice. 
The  leading  principles  of  good  vocal  delivery,  if 
prudently  presented,  will  commend  themselves  to 
the  good  sense  of  the  people.  Some  better  no- 
tions, too,  of  tune,  of  time,  and  of  melody,  may 
be  advantageously  given,  all  duly  subordinated  to 
the  spirit  of  praise.  A  few  good,  spiritually- 
minded  singers  may  on  these  occasions  be  so 
seated  in  the  assembly  as  to  act  informally  and 
incidentally  like  a  controlling  choir.  The  advan- 
tages of  this  measure  would  soon  be  manifest. 
Taste  would  begin  to  improve,  and  devotion  to 
U 


122 


Sacred  Praise. 


Eemedy. 

increase.  The  increase  of  spiritual  enjoyment 
would  weaken  the  bonds  of  prejudice,  till  in  time 
the  measure  might  be  perpetuated.  Other  im- 
provements might  follow  in  a  similar  manner. 

Such  congregations  are  usually  influenced  by 
the  examples  of  the  reformers  of  the  sixteenth 
century.  But  those  reformers  availed  themselves 
of  the  best  hymns,  which  their  own  times  pro- 
duced, and  set  them  to  such  spirit-stirring  melo- 
dies, old  and  new,  as  could  be  appreciated  and 
remembered  with  delight.  These  were  sung  in 
fanailies  as  well  as  in  public.  They  had  great  in- 
fluence with  the  people  ;  and  whole  villages  would 
become  vocal  with  the  praises  of  God.  Would  it 
not  be  advisable  for  us,  now  these  three  centuries 
later,  as  descendants  of  the  reformers,  to  follow 
the  spirit  of  their  example,  rather  than  to  copy 
their  identical  utterances,  which  have  become  too 
antiquated  and  time-worn,  to  produce  their  former 
influence.*  So  thought  a  late  excellent  pastor 
of  a  Cameronian  church,  when  without  any  book 

*  Originally  they  were /eZi  to  be  music  and  poetry.  They 
were  sung  with  energy,  and  not  in  the  present  drawling 
manner. 


Sacred  Praise 


123 


Limited  Tiaining. 

in  hand,  he  would  often  give  out  the  lines  of  some 
of  the  sweetest  hymns  of  the  language.  This 
gradually  prepared  the  way  for  further  improve- 
ments. Other  experiments  of  an  analogous  char- 
aeter,  might  often  be  attended  with  similar  sue- 
cess.  Yet  they  should  not  be  pressed  too  far,  nor 
seem  to  be  of  an  aggressive  character.  They 
should  be  such  as  would  commend  themselves  to 
the  good  sense  and  good  feeling  of  the  worshipers, 
and  contribute  to  their  spiritual  enjoyment.  A 
course  less  gradual  and  conciliatory,  would  lead 
to  a  painful  reaction  in  favor  of  old  habits. 


SECTION  II. 

Difficulties  where  tlicre  has  heen  much  training  upon  elements  of  no- 
tation— No  instructions  of  an  aesthetic  or  devotional  character — The 
latter  to  be  supplied — Hints  regarding  the  process. 

We  pass  now  to  a  field  where  there  is  much 
cultivation  of  a  limited  kind.  Considerable  in- 
dustry has  been  bestowed  upon  the  elementary 
branches  of  the  art.  Schools  have  been  well  at- 
tended, and  orderly,  and  the  pupils,  so  far  as 
psalmody  is  concerned,  have  become  versed  in 


124 


Sacred  Praise. 


"Want  of  Ta.-te . 

notation.  There  is  manifested  some  stability  and 
unanimity  of  purpose,  and  some  fondness  for  musi- 
cal practice  :  yet  there  is  little  discrimination  in 
matters  of  taste,  and  still  less  as  to  devotional  in- 
fluences. The  congregation  seem  to  be  indifEir- 
ent  to  the  performances. 

This  description  Trill  apply,  with  little  varia- 
tion, to  thousands  of  churches.  But  in  the  mul- 
titude of  cases,  the  training  has  been  too  exclu- 
sively mechanical.  If  taste  is  to  be  cultivated, 
the  mind  must  be  allowed  occasionally  to  dwell  in 
the  practice-room  upon  objects  of  taste;  and  if 
right  habits  of  piety  are  to  be  formed  in  this  con- 
nection, the  mind  must  have  its  corresponding 
seasons  of  uninternipted  religious  meditation. 
Tliis  principle  in  training,  as  we  have  seen,  is 
everywhere  indispensable.  But  unfortunately  it 
is  disregarded.  The  mind  is  occupied  so  exclu- 
sively with  rhythmic,  harmonic,  and  melodic  ele- 
ments, and  with  sounds,  syllables,  accents,  &c., 
independently  of  the  meaning  and  spirit  of  the 
language,  that  groveling  tendencies  become  habit- 
ual. It  occupies  itself  as  exclusively  with  such 
matters,  as  if  they  alone  were  essential. 


Sacred  Praise. 


125 


And  Piety. 

Many  who  are  dissatisfied  with  such  uumean- 
ing  mechanism,  are  not  at  all  aware  of  the  cause 
which  produces  it.  "  Some  people,"  they  tell  us, 
"will  never  acquire  taste.  What  is  the  use  of 
reasonino;  about  such  matters  ?  Men  who  are  so 
governed  hj  habit  and  prejudice,  will  have  their 
own  notions,  and  abide  by  them."  Such  a  style 
of  remark  may  answer  in  relation  to  secular  music, 
where  taste  often  runs  into  extravagances,  or  re- 
fines into  fastidiousness ;  but  it  has  no  proper 
bearing  upon  the  case  before  us.  These  people 
have  such  an  exclusive  fondness  for  mechanism, 
simply  because  nothing  better  has  been  taught 
them.  Their  minds  have  been  misguided,  in  re- 
gard to  taste  and  devotion,  by  erroneous  teachmg. 
How  is  taste  or  devotion  to  be  promoted  in  the 
practice  of  church  music,  while  the  mind  is  con- 
stantly preoccupied  by  minor  considerations  !  The 
day  of  miracles  is  past. 

Right  minded  people,  who  have  ordinary  sus- 
ceptibility, will  easily  cultivate  a  taste  for  simple 
music,  when  the  opportunity  is  given  them  ;  and 
with  the  Divine  blessing,  they  will  become  devout, 

if  the  proper  means  are  used.    If  the  teachei-  is 
1 1* 


126 


Sacred  Praise. 


A  Remedy. 

deficient  or  diffident  of  his  ability  in  these  re- 
spects, how  easy  will  it  be  for  the  pastor  to  assist 
him  ?  Even  if  the  latter  knows  little  of  practical 
music,  he  understands  language,  and  sentiment, 
and  devotion,  and  the  philosophy  of  the  human 
mind.  Let  him  occasionally  occupy  the  school 
for  a  brief  moment,  with  aesthetic  considerations, 
drawn  from  the  characteristics  of  some  hymn,  and 
the  singers  will  begin  to  acquire  taste.  Let  him 
do  a  similar  office  in  regard  to  the  religious  sen- 
timents of  a  hymn,  and  he  will  be  likely  to  do 
something  for  the  promotion  of  a  spirit  of  praise. 
Very  brief  instructions  of  the  sort,  often  repeated, 
are  usually  found  to  have  a  happy  and  abiding 
influence.  Habits  of  attention  are  thus  induced, 
in  favor  of  taste  and  spu'ituality.  A  remedy  so 
easily  applied,  and  so  efficient,  ought  not  to  be 
withholden.  Even  if  the  teacher  is  talented  and 
faithful,  he  will  be  hapjjy  to  receive  this  aid  from 
the  pastor.  Such  visits  have  often  been  blessed. 
An  occasional  word  of  tenderness,  in  such  circum- 
stances, often  gains  a  lodgement  in  some  heart, 
which  had  resisted  the  more  ordinary  presenta- 
tions of  truth. 


Sacred  Praise. 


127 


Esthetic  Influencoe. 


SECTION  III. 

DlfBcultics  where  aesthetic  considerations  have  nndne  influence — Char- 
acteristics—Self-ignorance — ^The  proper  test— The  remedy. 

There  is  another  field  of  labor,  which  from  the 
general  progress  of  musical  knowledge  and  lefine- 
ment,  is  becoming  more  and  more  perplexing. 
We  refer  to  congregations  where  aesthetical  influ- 
ences have  gained  the  entire  ascendency.  Good 
people  do  not  always  know  themselves  in  this  re- 
spect. Mere  pleasures  of  taste  sometimes  pass 
with  them  for  better  influences.  This  is  especi- 
ally true  with  those  whose  training  has  been 
artistic.  They  can  go  for  amusement  to  a  sacred 
concert,  or  to  an  oratorio,  be  delighted  with  the 
exhibitions  of  skill,  be  melted  by  the  sweet  touch- 
es of  pathos,  and  be  animated  by  the  impressions 
of  moral  courage  and  sublimity,  precisely  as  if 
they  were  at  the  opera.  But  since  the  subject  is 
religious,  and  since  their  minds  are  so  pleasantly 
exercised  in  that  connection,  they  are  tempted  to 
regard  these  pleasures  in  the  light  of  spiritual  in- 
fluences. They  are  also  apt  to  reason  from  such 
experiences,  in  favor  of  mere  musical  efficiency. 


128 


Sacred  Praise. 


jEsthetio  Influences 

If  while  their  chief  object  is  amusement,  they  are 
so  religioushj  affected,  how  powerful  must  the  art 
be,  and  how  much  more  might  be  expected  from 
it  at  church,  while  the  object  is  religious !  Church 
music,  of  a  simpler  kind,  has  no  attractions  for 
them.  It  is  too  unpretending.  It  does  not  pre- 
sent that  special  kind  of  appeal  to  which  they  are 
accustomed.  Yet  if  the  music  at  church,  as  some- 
times happens  in  city  congregations,  becomes  suf- 
ficiently artistic  to  meet  their  demands,  they  sit 
as  iri'esponsible  listeners,  to  be  wrought  upon 
by  aesthetic  agencies,  estimating  the  music  ac- 
cording to  its  "power  over  their  sensibilities. 

That  such  persons  are  wholly  destitute  of  right 
feelings,  we  do  not  presume  to  say.  Probably 
not.  The  Christian,  in  certain  favored  seasons, 
will  find  his  thoughts  tending  upward,  when  there 
is  much  around  him  that  would  ' '  chain  him  down 
to  sense."  At  such  times,  evei'y  thing  which  is 
beautiful  in  nature  or  art,  may  serve  to  remind 
him  of  the  goodness  of  God.  Perhaps,  too,  the 
sin  of  ignorance  is  so  "winked  at,"  by  Divine 
forl^earance  and  condescension,  in  such  cases,  that 
individuals  are  more  benefited  than  any  one  would 


iSacred  Praise. 


129 


To  be  Counteracted. 

suppose  them  to  be.  In  some  instances  the  fact 
would  appear  to  be  so  ;  and  hence  the  difficulty 
of  convincing  such  persons  that  they  are  habitu- 
ally in  error.  If  such  a  thing  is  attempted  di- 
rectly, they  refer  to  conscious  experience.  Ques- 
tion the  "  heavenly  influence"  of  fine  music,  and 
you  reveal  your  own  want  of  susceptibility.  The 
anxious  pastor  is  in  a  painful  dilemma.  He  sees 
plainly  that  such  persons  are  ensnared,  but  per- 
ceives no  practical  mode  of  disentanglement.  The 
evil  is  increasing,  but  what  can  he  do  ?  Shall  he 
quote  the  decisions  of  a  Newton,  a  Cecil,  and  a 
Richmond  against  the  influences  of  splendid  con- 
certs and  oratorios  ?  Those  good  men,  perhaps, 
were  not  sufficiently  liberal-minded.  Shall  he 
speak  against  excessive  indulgence  in  music? 
But  how  is  one  to  know  what  is  excessive,  if  he 
himself  is  a  neglecter  of  the  art  ? 

But,  happily,  there  are  two  or  three  considera- 
tions which  serve  to  throw  light  upon  such  aesthet- 
ic influences.  The  first  is  that,  for  the  most  part, 
they  are  exceedingly  transient,  terminating  al- 
most with  the  strains  that  produce  them,  and  lead- 
ing ofi"  the  mind  from  the  subject-matter  of  the 


130 


Sacred  Praise. 


Methods 

song,  to  considerations  of  musical  skill.  The 
second  is,  that  they  are  not  usually  accompanied 
with  evident  fruits  of  spirituality.  Those  who 
have  the  most  of  this  enjoyment,  often  seem  to 
make  but  little  progress  in  the  Divine  life — a 
very  suspicious  cu-cumstance  truly.  The  third 
is,  that  such  influences  are  not  .confined  to  Chris- 
tians, but  are  equally  operative  upon  unconverted 
men — a  circumstance  still  more  suspicious.  These 
considerations  are  neither  trivial  nor  inconclusive. 
They  are  of  solemn  moment,  and  are  not  easily 
set  aside. 

Some  persons,  on  witnessing  the  unsatisfactory 
nature  of  such  influences,  grow  skeptical  as  to  the 
utility  of  religious  music.  But  they  reason  from 
the  abuses  of  it,  rather  than  from  any  personal 
discovery  of  its  proper  efiects.  Real  worship  in 
religious  song,  is  not  the  mere  passive  experience 
of  emotions  that  come  and  go  at  the  bidding  of  an 
earthly  minstrel.  It  impHes  voluntary  intelligent 
activity  of  the  mind,  in  relation  to  Divine  things. 
It  claims  the  high  purposes  of  the  soul,  and  con- 
fers happiness  incidentally  in  connection  with  the 
discharge  of  duty.   But,  if  in  place  of  this  volun- 


Sacred  Praise. 


131 


Of  Discrimination. 

tariness,  this  activity  of  purpose,  we  are  indolently 
waiting  to  be  acted  upon,  just  as  the  "  harp  of  the 
winds"  may  be  influenced  by  the  passing  breeze,  we 
have  no  right  to  expect  a  blessing  from  the  exei- 
cises ;  nor  need  we  wonder  if  they  should  prove 
a  snare  to  us.  We  may  have  pleasures  in  this 
relation,  which  are  more  in  keeping  with  the  con- 
cert-room than  with  the  house  of  God. 

Morally  speaking,  the  case  before  us  has  its 
exact  counterpart  in  pulpit  oratory.  While  lis- 
tening to  an  excellent  discourse,  we  are  some- 
times more  influenced  by  the  manner  of  the 
speaker,  than  by  the  real  import  of  his  message. 
Our  fondness  for  oratory  has  proved  a  snare. 
This  is  a  common  case,  and  one  which  all  can 
understand.  If  we  have  been  listening  to  the 
discourse,  chiefly  on  account  of  the  exhibition  of 
talent,  we  usually  find  our  reward  in  the  fleeting 
sentimentalities  of  the  occasioa.  It  is  only  when 
the  mind  is  in  sympathy  with  the  object  of  the 
speaker,  that  we  are  in  the  proper  attitude  for 
receiving  spiritual  benefit  as  worshipers. 

A  principle,  so  obvious  as  this,  may  serve  for 
every  purpose  of  illustration.    Let  the  amateur 


132 


Sacrei>  Praise. 


SecoLir  Interests. 

listeners  assume  the  responsibility  of  real  active 
■worshipers.  Let  them,  with  the  hjmn  in  hand, 
pei-sonallj  plead,  confess,  give  thanks,  and  adore, 
with  the  mind  as  intently  jBxed  on  Divine  things, 
as  if  they  were  orally  engaged  in  earnest  prayer. 
Let  them  persevere  in  doing  this  from  Sabbath  to 
Sabbath,  till  they  can  realize  in  some  measure  the 
power  of  a  new  habit,  and  they  will  find  them- 
selves, for  the  most  part,  blessed  with  influences 
very  difierent  from  those  we  have  been  describing; 
influences  of  a  precious,  permanent,  and  substan- 
tial nature.  Esthetic  influences,  too,  though 
greatly  chastened  and  modified,  wUl  then  be  all 
the  sweeter  for  being  kept  in  due  subordination. 


SECTION  IV. 

Difficulties  occasioned  bv  strong  combinations  of  secolai  interests  with 
the  music  of  tlie  clinrcli — ^The  spirit  of  praise,  not  thus  promoted — 
Bemedr — ^Teachings  of  tlie  Scriptures — Pastoral  aid  indispensable. 


Secular  interests  often  extensively  combine  in 
efforts  for  the  promotion  of  church  music,  partic- 
ularly in  respect  to  skill.    Teachers  are  emulous 


Sacred  Praise. 


133 


Become  Prominent 

of  distinction,  and  desirous  of  patronage.  Authors 
and  publishers  wish  to  increase  the  sale  of  their 
productions.  Builders  and  venders  of  musical 
instruments  desire  to  augment  the  number  of  pur- 
chasers. Trustees  of  churches  wish  to  secure  the 
many  incidental  advantages  which  arise  from 
"good  singing;"  and  choirs  love  to  vie  with 
each  other  in  attainments  of  practical  skill. 
Hence  there  must  be  "  great  gatherings."  This 
is  a  matter  of  course.  Good  men  must  lend  their 
co-operation,  and  society  at  large  must  show  hos- 
pitality, and  patronize  the  concerts  of  the  conven- 
tion, in  the  hope  of  promoting  the  interests  of 
church  music.  Secular  music,  however,  must 
come  in  for  its  full  share  of  attention,  and  find 
its  way,  perhaps,  in  concerts  of  a  mixed,  incon- 
gruous character,  embracing  songs  of  every  grade, 
from  the  refined  sentimental  to  the  low  comic, 
and  possibly,  to  the  coarsest  burlesque.  The  res- 
ident pastor  is  expected  to  be  present,  and  favor 
the  enterprise.  Now  as  most  of  the  interests  in- 
volved are  right  in  themselves  considered,  what 
is  he  to  do?  Good  men  are  there.  Even  the 
leaders,  perhaps,  are  professors  of  religion,  desir- 
12 


134 


Sacred  Praise. 


Secular  Interests 

ous  on  the  whole  for  the  promotion  of  the  right 
spirit.  All  is  not  as  they  could  wish.  But  they 
must  enjoy  themselves,  and  please  the  people ; 
and  to  this  end  must  cater  to  every  kind  of  music- 
al taste  and  appetite.  Shall  he  stand  aloof,  and 
draw  upon  himself  the  charge  of  indifference  and 
illiberality  ?  Or  shall  he  join  the  coalition,  and 
crave  the  Divine  blessing  upon  all  its  purposes 
and  transactions.  This  is  sometimes  a  difficult 
question,  and  probably  the  answer  should  not  al- 
ways be  the  same.  Such  gatherings  may  be  use- 
ful in  many  respects.  If  they  are  sometimes 
worse  ordered  than  we  have  here  represented, 
they  at  other  times  have  a  better  appearance,  and 
are  attended  with  better  results.  In  the  latter 
case,  the  pastor  has  often  been  delighted,  and 
filled  with  encouragement.  And  his  hopes  have 
not  always  been  disappointed. 

A  single  question,  however,  wiU  serve  to  throw 
light  upon  the  moral  of  such  conventions.  Are 
these  people,  in  the  furtherance  of  psalmody, 
agreeably  to  the  Saviour's  rule  seeking  first  the 
kingdom  of  God  and  his  righteousness,  with  the 
expectation  that  secular  advantages  will  incident- 


Sacred  Praise. 


135 


Mast  be  Subordinated. 

ally  accrue?     Or  are  thej,  in  reversing  that 
rule,  seeking  fii'st  and  chiefly  their  own  secular 
interests  with  the  idea  that ,  praise  will  be  inci- 
dentally promoted?    The  hope  of  promoting  the 
worship  of  God  in  any  department,  by  the  power 
of  secular  interests,  is  wholly  delusoiy.  Taste, 
and  knowledge,  and  skill,  and  perseverance  may 
be  so  promoted,  perhaps,  but  not  the  spirit  of  true 
devotion,  whether  in  praise  or  prayer.  We 
might  as  soon  expect  to  revive  the  piety  of  a 
church  by  lyceum  lectures,  or  awaken  a  spirit  of 
prayer  by  ornamenting  a  steeple  or  setting  out 
shade-trees.     Conventions  and  concerts  of  the 
ordinary  kind,  may  be  so  conducted  as  to  secure 
many  advantages;  but  deliverance  fi'om  abuses 
must  arise  from  another  quarter.    It  is  a  happy 
circumstance  that  such  combiued  interests  are 
seldom  found  in  a  single  congregation ;  for  in  that 
case,  artistic  motives  would  constantly  seek  the 
ascendency.    But  where  the  excitement  of  a  con- 
vention has  in  some  measure  subsided,  the  pastor, 
understanding  the  position  of  things,  can  usually 
manage  to  give  the  right  direction  to  his  people. 
But  we  need  not  here  enlarge.    The  remedy 


136 


Sacred  Praise. 


A  Seinedy. 

before  us,  even  in  the  most  trying  cases,  is  still 
to  give  timely  instruction  as  the  basis  of  appro- 
priate effort ;  and  the  nature  of  the  diflScultj  vill 
sufr^est  the  kind  of  instruction  demanded.  TV^e 
need  not  check  the  progress  of  musical  improve- 
ment, in  order  to  guide  it  in  right  directions. 
We  need  not  question  the  advantages  of  taste,  be- 
cause it  has  sometimes  led  us  astray.  But  vre 
must  be  all  the  more  careful.  Even  where  ar- 
rangements and  influences  ai-e  as  we  could  desire, 
where  pi-aise  is  comely  in  manner  and  devotional 
in  spirit,  we  have  need  to  be  watchful.  Tempta- 
tions wiU  arise.  The  '"musical  world"  will  try 
its  censui-es,  or  flatteries,  or  allurements.  Lead- 
ers may  change,  members  may  change,  who  are 
of  a  different  spirit.  And  above  all,  the  adversary 
of  souls,  always  vigilant  and  unwearied,  will  take 
every  possible  advantage  of  circumstances:  and 
never  be  more  encouraged  than  when  there  is 
want  of  watchfulness.  The  pastor  must  keep  bis 
eye  upon  the  interests  of  praise  as  he  would  on 
those  of  prayer.  Personal  exertions,  both  in  and 
out  of  the  pulpit,  are  as  really  necessary  in  the 
one  case  as  in  the  other. 


Sacred  Praise. 


137 


PsstonJ  Inflnencd. 

But  the  labor  will  not  be  unprofitable.  It  will 
secure  delightful  influences.  Nor  will  it  always 
be  difficult.  In  reference  to  the  regulation  of 
schools  and  rehearsals — to  the  proper  instruction 
of  children — to  the  promotion  of  praise  in  fami- 
lies— ^to  the  selection  of  tunes,  and  the  ordering 
of  choirs  and  instrumental  accompiniments.  it 
may  be  said,  that  "  wherever  there  is  a  will,  there 
is  a  way."  and  one  which  can  be  readily  dis- 
covered and  profitably  pursued.  Let  us  com- 
mence operations  on  a  scriptui-al  basis,  and  be 
influenced  by  a  Christian  spirit,  and  for  the  most 
part,  experience  will  prove  a  satisfactory  guide. 
There  is  nothing  in  the  nature  of  these  interests 
which  need  occasion  embarrassment  Evils  have 
arisen  throash  folse  theories  and  conset|uent 
neglects. 

In  reference  to  the  leading  subject  of  this  ap- 
peal, we  must  act  consistently  and  with  due  in- 
telligence, if  we  expect  success.  For  if  we  will 
still  insist  on  the  spiritual  efficacy  of  aesthetic  in- 
fluences, or  if  we  will  govern  our  effi)i"ts,  as  if 
such  a  thing  had  a  real  existence,  we  may  still 
be  greatly  troubled.  We  will  deserve  to  be 
i2* 


138 


Sacred  Praise. 


Abuses 

troubled.  And  it  may  be  well  if  troubles  will 
drive  us  to  the  discharge  of  our  dutj.  Here,  ixs 
we  have  said,  is  the  fruitful  source  of  all  our  dif- 
ficulties ;  and  whether  we  favor  the  idea  of  this 
imaginary  efficiency,  or,  whether  disbelieving,  we 
infer  the  uselessness  of  singing  devotional  words, 
it  matters  little.  We  will  be  equally  in  error, 
and  equally  subject  to  disappointments  and  per- 
plexities. But,  let  us  act  intelligently,  and  with 
unanimity,  and  in  Christian  faithfulness,  and  no 
unreasonable  amount  of  effort  will  be  required. 
It  is,  doubtless,  in  the  power  of  the  Christians 
and  Christian  ministers  of  this  favored  land,  to 
restore  praise  to  its  proper  basis,  and  by  the  Di- 
vine blessing  upon  their  efforts,  to  procure  for  it 
those  peculiar  and  delightful  influences,  which  are 
intended  by  the  great  Head  of  the  Church.  Too 
long  has  it  been  degraded  from  its  rightful  posi- 
tion, by  the  mistaken  courses  of  those  who  were 
bound  in  duty  to  sustain  it.  It  will  never  be  re- 
stored by  neglect,  or  accident,  or  misrule.  Such 
a  miracle  need  not  be  expected.  Those  who  are 
spiritual  and  influential,  aided  by  their  pastor. 


Sacred  Praise. 


139 


Never  heal  themselves. 

must  put  their  hand  to  the  work  in  good  earnest, 
or  it  will  never  be  accomplished.  A  thousand 
other  methods  may  be  successively  tried,  but  all 
will  be  in  vain,  as  to  any  true  and  permanent 
result. 


CHAPTER  XI. 


CONCLUSION. 

The  subject  is  momentous — Must  be  thoronghly  taken  In  hand — ^Neg- 
lect inexcusable — The  cause  demands  speedy  action — Who  should 
be  most  forward  and  zealous  in  the  undertaking? 

But,  finally,  we  have  seen  what  ought  to  be 
done,  and  who  should  be  the  actors,  and  with 
what  spirit  they  should  be  guided.  We  have 
pointed  out  the  methods  to  be  pursued,  and  have 
shown  their  practical  bearings  and  operations. 
And  we  have  done  this,  not  in  the  way  of  abstract 
speculation,  but  as  the  result  of  experience  and 
observation,  for  the  last  fifty  years,  directly  within 
the  circle  of  musical  and  religious  transactions. 
We  have  spoken  plainly,  and  we  trust,  directly 
to  the  purpose.  And  now  that  the  subject  is  en- 
tirely before  us,  what  more  can  be  said  with  the 
hope  of  strengthening  this  appeal.  Is  it  a  trifling 
matter  that  praise  has  been  so  long  deserted,  se- 
cularized, misunderstood,  and  desecrated?  God 
proposes  to  be  honored  in  the  offerings  of  praise. 
Is  it  a  small  matter  that  He  is  so  often,  so  cxton- 


Sacred  Praise. 


141 


Conclusion. 

sivelj,  and  so  deeply  dishonored  in  the  assemblies 
of  His  people  ?  All  this,  too,  -while  the  remedy 
lies  plainly  Avithin  our  power  ?  It  can  not  be. 
That  work  which  is  the  joy  of  angels  and  glorified 
spirits  in  the  sanctuary  above,  ought  to  be  here, 
a  most  hallowed  employment.  And  to  trifle  with 
it  in  this  world  of  hope  and  of  privilege,  while  it 
is  given  us  as  a  rich  foretaste  of  joys  to  come, 
must  be  inexpressibly  displeasing  in  the  sight  of 
God.  We  might  speak  of  the  many  privileges 
and  advantages  which  would  arise  in  connection 
with  faithfulness  in  this  cause.  We  might  speak 
of  Chi'istian  enjoyment,  of  growth  in  grace.  We 
might  speak  of  happy  influences  upon  the  pulpit, 
and  upon  Christian  assemblies,  and  upon  private 
circles  and  families.  We  might  speak  of  power- 
ful revivals  of  religion,  in  many  instances  pro- 
moted by  this  instrumentality.  We  might  speak 
of  Christians,  distinguished  for  self-denial  and 
holy  activity  in  the  Church,  whose  first  abiding 
religious  impressions  were  received  in  the  well- 
ordered  schools  and  rehearsals  of  Christian  psalm- 
ody. But  while  it  is  a  delightful  truth,  that 
God  has  been  wont  to  smile  graciously  upon  such 


142 


Sacred  Praise. 


Obligation  to  Activity. 

endeavors  of  faithfulness  in  the  cultivation  of 
praise,  we  choose  rather  to  ground  this  appeal 
upon  the  simple  basis  of  obligation.  Let  us  re- 
member that  the  general  possession  of  native 
TALENT,  sufficient  for  the  object  before  us,  argues 
a  corresponding  extent  of  responsibility.  If 
it  is  right  for  any  man  to  neglect  the  praises  of 
God  in  the  sanctuary,  let  him  do  so  if  he  will, 
and  undergo  the  loss  of  a  precious  benefit.  If  it 
is  right  for  any  neglecter  of  music  to  disturb  the 
devotions  of  the  assembly  by  his  discordant  noises, 
let  him  do  so.  If  it  is  right  for  men  of  influence 
among  churches  and  pastors  to  withhold  their  ef- 
forts from  such  a  cause,  let  them  do  so,  and  con- 
tinue to  bear  the  perplexities  and  discomforts 
which  surround  them.  But  if  this  is  wrong — all 
wrong ,  what  shall  be  said  of  such  delinquency? 
The  question  is  an  important  one,  in  the  case  of 
individuals.  How  shall  it  be  decided?  Not, 
surely,  on  the  ground  of  personal  inclination,  or 
comfort,  or  convenience,  or  comparative  amount 
of  talent,  but  on  the  principle  of  sound.  Christian 
obligation.  We  leave  it  for  the  earnest,  prayer- 
fiil  consideration  of  our  readers.    AVhatever  is  to 


Sacked  Praise. 


143 


Obligation  to  Activity. 

be  said  of  the  duty  of  those  who  lost  the  advan- 
tages of  early  instruction,  and  are  now  advanced 
in  life,  the  duty  of  multitudes  who  are  inactive, 
is  perfectly  plain.  Let  talent  everywhere  be 
drawn  forth  and  improved  for  the  general  edi- 
fication. And  who  among  the  favored  number, 
should  be  so  forward  in  zeal  and  in  earnest  effort, 
as  those  who  have  made  the  greatest  progress  in 
the  Divine  life,  and  have  drunk  deepest  from  the 
fountains  of  redeeming  love  ?  They  are  furnished 
w^itli  a  powerful  motive.  Surely  love  and  grati- 
tude should  incite  them  to  activity.  We  have 
seen  enough  of  indifference  in  congregations  at 
large.  We  have  seen  enough  of  mere  amateur 
performances  and  artistic  personations  of  devo- 
tion. The  soul  sickens  at  the  thought  of  them. 
Away  with  such  heartlessness  in  the  worship  of 
God !  We  plead  for  a  revival  of  sacred  praise. 
We  plead  for  the  restoration  of  sound  principles 
and  hallowed  influences,  such  as  the  subject  de- 
mands, and  such  as  originally  prevailed.  And  as 
our  plea  is  drawn  directly  from  the  pages  of 
inspiration,  we  hope  and  trust  it  will  not  be  in 
vain. 


144 


Sacred  Praise. 


Principles  will  live. 

The  writer  of  these  pages  is  reminded,  by  the 
lapse  of  years,  that  he  must  soon  be  called  from 
the  long-cherished  scene  of  his  labors.  Others 
will  succeed-  him.  His  name  and  his  influence 
will  be  forgotten.  But  the  principles  he  has  ad- 
vocated are  destined  to  live ;  for  they  accord  with 
the  teachings  of  the  Bible.  And  now,  while  in 
the  full  vigor  of  health  and  activity,  he  gives  his 
deliberate — perhaps  his  last — -testimony  to  their 
truth  and  importance.  Through  the  blessing  of 
the  great  Head  of  the  Chui'ch,  he  trusts  that 
it  will  not  be  in  vain. 


APPENDIX. 


APPENDIX. 


We  present  under  this  head  a  number  of  ex- 
tracts gleaned  from  various  sources,  which  have 
a  bearing  upon  the  preceding  discussion.  For 
every  shade  of  thought  thej  contain,  yue-.  of  course, 
would  not  be  individually  responsible :  yet,  if  we 
mistake  not,  they  will  prove  suf&ciently  suggestive 
to  thinking  minds. 

I. 

DECLEXSIOX  IX  CHURCH  iiL'SIC. 
The  following  appeared  in  the  New  York  Ob- 
server, and  New  York  Erangelisf  of  1838  : 

A  celebrated  eastern  traveler  informs  us  of  a 
singular  musicjil  custom  prevailing  among  the  Jews 
at  Tiberias.  While  the  Rabbin  is  chanting  cci'tain 
portions  of  the  Psalms,  the  congregation,  he  says, 
frequently  imitate,  by  their  voice  and  gestures,  the 
meaning  of  some  remarkable  passages.  Wlien, 
for  example,  the  Rabbin  pronounces  the  words, 
'  Praise  the  Lord  with  the  sound  of  the  trumpet."' 
they  imitate  the  sound  of  such  an  insti'ument 
through  theii'  closed  fists :  when  a  ' '  horrible  tem- 
pest"' occurs,  they  puff  and  blow  to  represent  the 


148 


Appendix. 


Declension 


storm:  and  when  "the  cries  of  the  righteous  in 
distress"  are  mentioned,  they  set  up  a  loud  scream- 
ing. This  practice  might  be  quoted  as  a  fine  bur- 
lesque upon  much  that  passes  at  the  present  day 
for  imitative  expression :  but  not  to  insist  upon 
this  idea,  it  might  be  well  for  those  among  us  who 
have  been  better  instructed  as  to  the  spiritual 
claims  of  devotion,  to  inquire  how  far.  in  a  relig- 
ious point  of  view,  the  prevailing  style  of  culti- 
vated psalmody  rises  above  that  of  the  poor  de- 
luded Tiberians.  Of  course  it  is  more  refined — 
more  consistent  with  the  principles  of  enlightened 
taste ;  but.  beyond  this,  in  the  majority  of  in- 
stances, I  fear  there  is  not  very  much  to  be  said. 
By  the  aid  of  a  professional  organist,  we  have 
about  the  same  mimetic  accompaniments ;  the  ut- 
terance from  the  choir,  in  such  circumstances,  is 
often  as  inarticulate  as  the  tooting  and  puffing  of 
the  Tiberians ;  and,  as  to  the  spirituality  of  the 
exercise,  we  not  only  have,  in  a  multitude  of  in- 
stances, the  unconverted  for  our  chief  singers, 
but  frequently  men  of  base  principles  and  question- 
able morals,  as  the  leaders  in  this  part  of  the  serv- 
ice ;  while,  at  the  same  time,  most  of  the  mem- 
bei's  of  the  church  are  sitting  in  theu"  pews  as 
mere  silent  listeners. 

Look  at  the  scene  which  is  usually  presented. 
While  the  hymn  is  read  indifferently  from  the 
desk,  as  if  no  important  results  were  anticipated 
from  the  exercise  the  worshipers  are  yet  found 
to  be  attentive,  and  they  seem  to  manifest  some  in- 
terest in  the  sulyect :  but  when  the  tune  is  to 
bo  given  out,  the  whole  aspect  changes.     If  tlie 


Appendix. 


149 


In  Church  Music. 


music  appears  coarse,  all  are  restless;  but  if  it 
chances  to  be  very  fine,  then  a  small  portion  of 
the  listeners  who  are  amateurs,  are  evidently  de- 
lighted with  the  entertainment,  and  a  few  others 
here  and  there,  sympathize  with  them  without  much 
knowledge  or  discrimination.  All  these  for  the 
time  being  are  virtually  at  a  public  concert,  and  the 
singers  look  down  upon  them  as  if  anxious  to  catch 
the  smile  of  approbation.  Another  small  poi  tion  of 
the  assembly,  whose  physical  gifts  have  always  been 
neglected,  are  attentive  to  the  service  from  prin- 
ciple ;  but  the  rest,  forming  in  many  cases  a  large 
majority  of  all  who  are  present,  are  found  to  be 
remarkably  inattentive.  The  beloved  pastor  him- 
self sets  the  example.  His  part  in  the  matter 
was  merely  to  i-ead  the  hymn ;  and  now  he  must 
look  out  a  passage  of  Scripture,  examine  his  no- 
tices, adjust  tiie  pages  of  his  manuscript,  receive 
messages  from  the  elders  or  deacons,  or  whisper 
some  important  hint  to  a  brother  minister  sitting 
by  his  side,  or  descend  from  the  pulpit  to  speak 
with  some  member  of  the  congregation.  A.s  all 
this  is  to  be  done  in  the  few  brief  moments  allowed 
to  the  singers,  the  pastor,  without  the  least  thought 
of  its  impropriety,  becomes  remarkably  active, 
that  there  may  be  no  waste  of  time.  An  example 
so  conspicuous  is  not  lost  upon  the  industrious 
sexton  with  his  noisy  offices,  and  the  influence 
spreads  like  contagion  throughout  the  assembly. 

What  a  spectacle !  Are  these  people  all  en- 
gaged in  a  solemn  act  of  worship  ?  During  the 
readimj  of  the  hymn,  perchance  they  were  meas- 
urably so :  but  now,  while,  according  to  the  L)i- 


150 


Appendix. 


Declension 


vinelj  constituted  method  of  sacred  praise,,  the 
chief  impression  is  to  be  made,  they  are  otherwise 
engaged.  The  poor  Tiberiaus  are  earnest  iu  theii* 
way  of  singing;  not  so  the  worshipers  at  large 
in  a  Christian  assembly.  They  have  somt'thing 
else  to  euc;a2;e  tlieir  attention  during  the  office  of 
sacred  praise.  These  irrelevant  activities,  it  is 
true,  are  not  always  equally  manifest.  There  is 
some  difference  as  to  congregations,  circumstances, 
times  and  places ;  yet  if  they  are  to  be  taken  as  a 
fair  criterion  of  the  general  state  of  mind  with  re- 
spect to  the  spiritual  claims  of  the  exercise,  they 
are  everywhere  sufficiently  prevalent  to  reveal  the 
most  painful  barrenness.  I  blush  to  think  of  it. 
My  soul  is  ashamed  when  I  consider  the  existing 
state  of  things. 

Let  it  not  be  said  that  all  this  couipiicuted 
mockery  is  merely  the  fault  of  cultivated  singers. 
Though  these  must  answer  for  their  own  sins,  the 
rest  of  the  congregation  will  not  thereby  l)e  ren- 
dered innocent.  They  are  at  least  accessory  to  the 
abuses,  while  they  treat  the  whole  suiiject,  as  lam 
constrained  to  think,  with  the  most  inexcusable 
neglect.  Nor  let  it  be  said  that  in  the  absence  of 
a  choir,  the  state  of  things  is  any  more  favorable. 
The  abuses  may  be  .somewhat  modified,  but  they 
are  neither  removed  nor  lessened  by  the  circum- 
stance. The  same  irrelevant  activities  are  here 
observable ;  and  the  abuses  are  often  more  flagrant 
here  than  in  the  former  case.  A  gi-eater  num- 
ber, it  is  true,  attempt  to  sing,  and  this  might  be 
well,  but  their  manner  for  tlie  most  p;irt,  is  nei- 
ther musical  nor  consentaneous,  while  their  ut- 


Appendix. 


151 


In  Chnrch  Music. 


terance  is  indistinct  and  unimpressive.  TLey 
sometimes  make  all  manner  of  noises,  but  it  can 
hardlj  be  said  that  they  sing,  in  any  proper  sense 
of  the  phrase.  I  am  aware  that  many  people  ai  e 
atfciched  to  this  peculiar  method,  and  think  it 
highly  devotional.  So  think  the  Tiberians  in  re- 
gard to  their  own  chosen  method ;  but  men  of 
sound  discrimination  ui  such  matters,  think  differ- 
ently. If  this  method  does  indeed  subserve  the 
interests  of  true  devotion,  how  does  it  happen  that 
such  endless  abuses  are  tolerated?  Would  any 
one  think  of  passing  round  the  contribution-box. 
or  of  inviting  the  people  to  exchange  seats  during 
the  office  of  public  prayer  ?  Yet.  during  the  of- 
fice of  praise,  such  things  are  done  abundantly  in 
many  churches,  on  the  mere  plea  of  saving  time, 
and  without  one  thought  of  theii*  proving  a  hiu- 
derance  to  devotion ! 

I  do  not  undertake  to  say  which  of  the  two 
methods  in  the  present  state  of  the  art,  is  the 
most  unfavorable  to  religious  edification.  I  sus- 
pect the  grand  adversary  of  souls  will  be  well  sat- 
isfied with  either,  so  long  as  he  can  prevent  a  re- 
form in  favor  of  spii'ituality.  Forms  it  is  true  ai-e 
not  all  equally  pleasing;  yet  empty  formality^ 
however  convenient  or  attractive  it  may  seem,  is 
a  miserable  substitute  for  real  devotion. 

The  following  remarkable  passage  appears  in 
the  book  of  discipline  of  the  Presbyterian  Church  : 

"  God's  ministers  ought  to  be  careful  not  to 
make  their  sermons  so  long  a»s  to  interfere  with  or 


152 


Appendix. 


Declension 


exclude  the  more  important  duties  of  prayer  and 
praise,"  etc. 

More  important  duties !  What  can  this  mean  ? 
Sermons  perhaps  are  not  generally  too  long,  and 
we  are  accustomed  to  hear  them  Avith  devout  at- 
tention. Prayer  excites  a  universal  feeling  of 
solemnity ;  but  praise  is  accompanied  for  the  most 
part  by  different  demonstrations.  It  is  attended 
on  the  one  hand  by  lassitude,  weariness,  and  dis- 
gust ;  and  on  the  other  by  that  species  of  senti- 
mentalism  which  results  from  the  gratification  of 
taste.  Where  the  style  is  uncultivated,  the  sing- 
ing seems  to  occupy  a  sort  of  recess  in  the  solem- 
nities; and  where  the  music  is  attractive,  the 
scene  for  the  time  being  reminds  us  of  a  rehearsal 
or  public  concert.  The  people  are  interested, 
sometimes  deeply  so,  but  the  interest  is  not  gene- 
rally of  the  most  desirable  kind.  It  is  that  kind 
which  makes  them  think  of  the  song,  the  adapta- 
tion, and  the  execution,  till  the  sentiments  of 
the  hymn,  the  prayer,  and  the  sermon  are  forgot- 
ten. 

This  is  a  sad,  though  faithful  picture  of  music- 
al influence  in  too  many  of  our  churches.  Nei- 
ther of  the  two  extremes  here  presented,  exhibits 
any  thing  in  accordance  with  that  clause  in  the 
rule  to  which  we  have  referred,  and  as  no  one  be- 
lieves in  the  efficacy  of  restrictions  which  will  be 
perpetually  violated,  it  becomes  a  (question  wheth- 
er the  clause  should  not  be  stricken  out.  If  this 
were  done,  then  a  new  rule  miglit  be  added  like 
the  following : 

"  As  praise  among  all  religious  duties  is  the  one 


Appendix. 


153 


In  Chnrch  Mnsic. 


which  is  least  in  importance,  which  is  the  most 
liable  to  be  misunderstood,  and  the  most  diflBcult 
to  be  regulated:  it  becomes  advisable  when  a 
hjmn  has  been  given  out,  that,  either  on  the  one 
hand  the  sexton  attend  to  his  more  noisy  affairs, 
the  deacons  to  their  contribution-boxes,  the  eldei*s 
to  the  disposal  of  pulpit  notices,  and  the  pastor  to 
those  various  items  which  would  interfere  with  the 
regular  solemnities ;  or  that,  on  the  other  hand, 
the  people  be  allowed  to  enjoy  a  short  musical 
entertainment,  as  a  relaxation  from  the  strictness 
of  devotion." 

The  proposal  of  a  rule  like  this  may  seem  harsh 
in  the  ear  of  orthodoxy,  but  it  is  in  strict  accord- 
ance with  the  practical  habits  and  maxims  which 
extensively  prevail.  Consistency  is  a  jewel ;  and 
what  could  sooner  secui-e  its  inestimable  advan- 
tages, than  the  adoption  of  such  a  rule  ? 

The  Baptist  Register,  in  reference  to  the  same 
abuses,  copies  fi-om  one  of  those  journals  a  re- 
mark that  "  the  idea  of  praise  to  God,  as  the  ob- 
ject of  singing  in  public  worship,  has  in  many 
churches  become  obsolete,  while  mere  display,  as 
at  theatrical  concerts,  is  the  grand  aim  of  the 
singers,  who  are  appropriately  termed  perforni- 
e?'s." 

To  this  the  editor  adds  a  significant  comment : 

"We  are  very  sorry  to  say,  that  from  the  ob- 
servations made  by  us  in  several  of  oui'  congrega- 
tions, we  should  be  unable  to  bear  any  better  tes- 


154 


Appendix. 


Declension 


timony.  It  is  sorely  to  be  lamented,  but  how  it 
is  to  be  remedied  we  know  not,  unless  pastors 
take  the  thing  sei'iously  in  band,  apd  point  out 
repeatedly  the  solemnity  and  design  of  this  part 
of  Divuie  service.  The  proper  encomiums  which 
have  been  so  repeatedly  passed  on  choirs  at  asso- 
ciations and  other  occasions,  ha^'e  been  carried  by 
us  to  a  shockino;  leno-th,  and  have  contributed  in 
no  small  degree  to  injure  the  spii'ituality  of  this 
part  of  worship,  and  here  we  have  gone  altogether 
beyond  our  P{edobaptist  neighbors.  We  have 
set  up  our  choirs,  and  eulogized  them  as  the  world 
do  a  company  of  theatrical  performers.  How 
must  such  things  appear  in  the  sight  of  Him  who 
requires  us  to  sing  with  the  '  spuit  and  with  the 
understanding?'  " 

The  following  appeared,  a  few  years  since,  in 
one  of  the  religious  papers  of  this  city  : 

In  the  earlier  ages  of  Christianity,  the  princi- 
pal chaiUer  was  appointed  under  sanction  of  a  sol- 
emn charge.  That  which  was  prescribed  for  this 
purpose  by  one  of  the  councils  of  Carthage,  was 
as  follows  : 

"  Sec  that  thou  believe  with  thine  heart  what 
thou  singestwith  thy  mouth  :  and  that  what  thou 
believcst  witli  thine  heart,  thou  carry  out  in  thy 
walk  and  conversation."' 

The  chief  singer  of  modern  days  is  chosen  with 
less  reference  to  religious  qualifications  than  to 
vocal  powers.  But  let  us  suppose  the  Carthagin- 
ian precedent  to  be  re-established  and  carried  into 


Appendix. 


165 


In  Church  Music. 


successful  operation.  Then,  under  the  extensive 
influence  of  proper  cultivation,  elementary  and 
religious,  we  might  look  with  confidence  for  the 
i-equired  results.  Then  the  music,  instead  of  de- 
stroying, as  it  often  does,  the  entire  influence  of  a 
hymn,  would  clothe  the  language  and  the  senti- 
ment of  it  with  additional  interest.  Then  such 
lines  as, 

"  Had  I  a  thousand  tongues,  they  all 
Should  join  the  harinouy" — 

would  no  longer  be  accompanied  by  pulpit  mes- 
sages and  contribution  boxes — nor  such  as, 

"  Let  knowledge  lead  the  song, 
Nor  mock  lain  with  a  solemn  sound 
Upon  a  thoughtless  tongue," 

be  sung  on  the  one  hand  without  the  least  knowl- 
edge of  art;  or  on  the  other,  with  skill  in  couec- 
tion  with  graceless  affections.  Then  such  a  pas- 
sage as 

"  Seven  times  a  day  I  lift  my  hands 
And  pay  my  thanks  to  Thee," 

instead  of  falling  from  lips  that  speak  false,  would 
be  connected  with  a  habitual  spirit  of  praise,  at 
church  and  in  the  social  circle,  at  home  and 
abroad.    Such  lines,  too,  as, 

"Tet  save  a  trembling  sinner.  Lord,"  etc., 

would  be  uttered  in  the  breathings  of  true  peni- 
tence, and  be  followed  by  a  blameless  life — and 
such  as, 


156 


Appendix. 


Declension 


"Now  I  resolve,  with  all  mv  heart, 
"With  all  my  powers,  to  serve  the  Lord," 

would  be  accompanied  with  real  consecration  of 
soul ;  a  consecration  never  afterward  to  be  re- 
voked. Then,  in  short,  the  language  of  the  lips 
[of  the  singers]  would  no  longer  be  at  variance 
with  those  of  the  heart  and  life.  There  would  be 
meaning,  consistency,  and  true  commitment  of  soul 
in  the  office  of  holy  song. 

Why  then,  should  not  the  ancient  precedent  of 
which  we  are  speaking  be  at  once  restored  ?  Were 
the  Carthaginian  council  wrong  in  establishing 
it  ?  Did  they  attach  undue  importance  to  the  of- 
fice of  praise  ?  Far  from  it.  They  followed,  in 
this  respect,  the  examples  and  precepts  of  the 
Holy  Scriptures.  The  chief  singer,  according  to 
the  Bible,  sustains  a  holy  and  responsible  office : 
while  those  associated  with  him  are  bound  to  be 
personal  worshipers,  singing  approjjriately  as  to 
manner,  and  in  the  time  spirit  of  devotion. 

The  Biblical  Repository  of  1844,  sjjeaks  thus 
on  the  character  of  church  music  : 

Once  it  Avas  cultivated  by  kings  and  princes, 
and  teachers  of  religion — now  it  is  left  with  the 
less  influential  classes  in  the  community.  Once, 
the  singing  of  psalms,  and  hymns,  and  spiritual 
songs,  was  an  exercise  as  truly  and  as  exclusively 
religious,  as  was  that  of  preaching,  exhortation,  or 
prayer — now,  the  same  exercise  is  often  little  else 
than  an  enterUiinment  for  the  gratification  of  taste. 
Once,  those  who  were  the  most  spiritual  were  the 


Appendix. 


157 


In  Church  Music. 


most  active  in  the  solemn  work  of  praise — now 
they  are  generally  the  most  negligent :  or,  earn- 
estly engaging,  as  they  sometimes  consent  to  do, 
in  the  discharge  of  this  duty,  they  are  often  seen 
to  decline  in  spirituality.  They  appear  in  relig- 
ious things  as  if  some  strange  lethargy  had  overtaken 
them  :  as  if  some  withering  hand  had  dried  up 
within  them  all  the  sources  of  spiritual  life.  They 
become  other  men.  They  learn  by  degrees  to  ex- 
ercise themselves  with  the  sentimentalities  of 
song,  instead  of  lifting  up  holy  hands  and  hearts 
to  God  in  the  solemn  service. 

The  many  painful  examples  of  this  nature 
which  have  been  witnessed  in  modern  times,  have 
awakened  the  jealousy  of  good  men  against  the 
claims  of  the  art,  and  led  many  to  imagine  that  it 
Avas  designed  chiefly  for  the  circumstances  of  other 
times,  while  now  it  is  waxing  old  and  ready  to 
vanish  away.  Why  else,  they  would  ask,  do  we 
receive  so  httle  benefit  from  exercises  in  praise, 
and  why  are  we  so  often  foiled  in  our  efforts  to- 
ward rendering  it  an  efiicient  instrument  of  edifi- 
cation?   *    *  * 

*  *  *  Sacred  music  as  a  Divine  institu- 
tion, was  not  destined,  like  the  ancient  Jewish  rit- 
ual, to  decay.  It  is  to  stand  while  time  endures, 
as  a  lively  representation  of  the  worship  of  the 
sanctuaiy  above.  Nor  can  we  doubt  that  it  will 
yet  be  seen  to  operate  more  efl5ciently  than  ever 
in  enlivening  the  devotions  of  the  sincere  wor- 
shiper. 

14 


J.58 


Appendix. 


Character 


n. 

HTMN  TUNES. 
Something  far  beyond  grammatical  accuracy 
should  be  aimed  <at  in  the  selection  of  tunes  for 
public  and  private  worship.  We  have  often  spoken 
upon  this  subject  on  various  occasions.  But  we 
here  present  an  interesting  extract  from  Rev.  H. 
W.  Beccher : 

Any  theory  that  denies  to  church  music  a  pow- 
er upon  the  imagination  and  the  feelings,  as  music, 
and  makes  it  a  mere  servile  attendant  upon  words, 
will  carry  certain  mischief  upon  its  path,  and  put 
back  indefinitely  the  cause  of  church  music. 

The  tunes  which  burden  our  modoi-n  books,  in 
hundreds  and  thousands,  utterly  devoid  of  char- 
acter, without  meaning  or  substance,  may  be  sung 
a  hundred  times,  and  not  a  person  in  the  congre- 
gation will  remember  them.  There  is  nothing  to 
remember.  They  are  the  very  emptiness  of  fluent 
noise.  But  let  a  true  tune  be  sung,  and  every  person 
of  sensibility,  every  person  of  feeling,  every  child 
even,  is  aroused  and  touched.  The  melody  clings 
to  them.  On  the  way  home,  snatches  of  it  will 
be  heard  on  this  side  and  on  that ;  and  when,  the 
next  Sabbath,  the  same  song  is  heard,  one  and 
another  of  the  people  fxU  in,  and  the  volume 
grows  with  each  verse,  until  at  length  the  song, 
breaking  forth  as  a  many-rilled  stream  from  the 
hills,  grows  deeper,  and  flows  on,  broad  as  a 
mighty  river !    Such  tunes  are  never  forgotten. 


Appendix. 


159 


Of  Tunes. 


They  cling  to  us  through  our  whole  life.  We 
carry  tliem  with  us  upon  our  journey.  We  sing 
them  in  the  forest.  The  workman  follows  the 
plow  with  sacred  songs.  Children  catch  them, 
and  singing  only  for  the  joy  it  gives  them  now, 
are  yet  laying  up  for  all  their  life  food  of  the 
sweetest  joy.  Such  tunes  give  neAv  harmony  and 
sweetness  even  to  the  hymns  which  float  upon 
their  current.  And  when  some  celestial  hymn  of 
Wesley,  or  of  the  scarcely  less  than  inspired  Watts, 
is  wafted  upon  such  music,  the  soul  is  lifted  up 
above  all  its  ailments,  and  rises  into  the  very  pre- 
sence of  God,  with  joys  no  longer  unspeakable, 
though  full  of  glory  : 

We  copy  from  the  same  source,  some  good  re- 
marks on  conaregational  singing. 

We  do  not  think  that  Congregational  Singing 
will  ever  prevail  with  power,  until  Pastors  of 
Churches  appreciate  its  importance,  and  univer- 
sally labor  to  secure  it.  If  ministers  regard  sing- 
ing as  but  a  decorous  kind  of  amusement,  pleas- 
antly relieving  or  separating  the  more  solemn  acts 
of  worship,  it  will  always  be  degraded.  The  pas- 
tor, in  many  cases,  in  small  rural  churches,  may 
be  himself  the  leader.  In  larger  societies,  where 
a  musical  director  is  employed,  the  pastor  should 
still  be  the  animating  center  of  the  music,  en- 
couraging the  people  to  take  part  in  it,  keeping 
before  them  their  duty  and  their  benefit  in  partic- 
ipating in  this  most  delightful  part  of  public  wor- 
ship. 

It  is  a  very  general  impression  that  the  pastor 


160 


Appendix. 


Of  Tunes. 


is  to  teach  and  to  pray,  but  another  man  is  to  sing. 
Music  is  formed  out,  and  the  unity  of  public  serv- 
ices is  marred  by  two  systems  of  exercises  con- 
ducted by  ditfereut  persons,  and  oftentimes  Avithout 
concord  or  sympathy  with  each  other,  and  some- 
times even  with  such^  contrariety,  that  the  organ 
and  the  choir  effectually  neutralize  the  pulpit. 
While  it  may  not  be  needful  that  the  pastor  should 
perform  the  part  of  a  musical  leader,  yet  it  is  cer- 
tain that  there  will  not  be  a  spirit  of  song  in  the 
whole  cono-reiJration  if  he  is  himself  indifferent  to 
it,  and  the  first  step  toward  congregational  singing 
must  be  in  the  direction  of  the  ministry. 

The  following  is  fi'om  a  more  artistic  source : 

In  the  production  of  psalm-tunes  extremes 
should  b  ■  avoided.  The  structure  should  not  be 
too  artistic  and  complicated,  nor  too  very  simple 
and  unpretending.  The  melody  and  the  rhythm 
should  not  be  light  and  secular,  nor  heavy  and  an- 
tiquated. It  should  not  have  such  an  attraction 
as  to  draw  off  the  mind  from  the  subject,  like  ill- 
ordered  elocution  in  the  pulpit,  nor  so  destitute  of 
interest,  as  to  afford  no  help  in  religious  medita- 
tion. The  tune,  too,  if  it  is  to  affect  us,  should 
be  the  evident  offspring  of  feeling  in  the  composer. 
These,  and  otlier  hints  of  the  sort,  may  properly 
be  regarded  as  fundamental.  How  incompetent 
then  is  mere  grammatical  knowledge  as  a  guide 
to  composition !  And  how  superficial  and  unsat- 
isfactory is  that  criticism  on  music-books  which 
dwells  chiefly  upon  minor  points  in  grammar  ! 


Appendix. 


161 


Hymns. 


m. 

HYMNOLOGY. 

The  full  importance  of  this  subject  is  not  gen- 
erally understood.  Many  of  the  hymns  in  circu- 
lation have  little  claims  as  to  poetry  or  sentiment. 
Some  of  them  to  the  singer  are  wholly  impractic- 
able. He  can  neither  illustrate  their  meaning, 
uor  add  to  their  significance.  Yet  they  will  be 
given  out.  Setting  forth  some  mere  heads  of  dis- 
course, a  pastor  often  selects  them  because  they 
bear  a  relation  to  his  sermon.  This  is  unfortu- 
nate. If  a  hymn  is  to  be  effectively  sung,  it 
should  have  some  traits  that  are  lyrical.  Hymn- 
books,  too,  we  fear,  are  exciting  but  a  feeble  in- 
fluence upon  the  piety  of  the  present  generation. 
There  is  some  zeal  in  j^rocuring  them — but,  ex- 
cepting on  the  Sabbath  at  churc  i,  they  are  often 
laid  aside  with  as  little  ceremony  as  if  they  were 
almanacs  out  of  date.  In  these  circumstances 
we  take  pleasure  in  quoting  at  some  length  from 
the  interesting  writer  above  named.  On  some 
points  we  might  feel  obliged  to  differ  from  him, 
but  we  thank  him  for  such  thoughts  as  these,  which 
are  gleaned  from  the  New  York  Independent.  : 

The  discovery  of  a  statue,  a  vase,  or  even  of  a 
cameo,  inspires  art-ci-itics  and  collectors  with  en- 


162 


Appendix. 


Hymns. 


thusiastic  industry,  to  search  whether  it  be  a  copy 
0  ■  an  original,  of  what  age,  and  by  what  artist. 
But  I  think  that  a  heart-hymn,  sprung  from  the 
souVs  deepest  life,  and  which  is,  as  it  were,  the 
words  of  the  heart  in  those  hours  of  transfigura- 
tion in  Avhich  it  beholds  God  and  heavenly  angels, 
is  nobler,  by  far,  than  any  old  simalcrum,  or  carved 
ring,  or  heathen  head,  however  ex(|U]site  in  lines 
and  feature  !  To  trace  back  a  hymn  to  its  source, 
to  return  upon  the  path  along  which  it  has  trod- 
den on  its  mission  of  mercy  tlirough  generations, 
to  Avitness  its  changes,  its  obscurations  and  re-ap- 
pearances, is  a  work  of  the  truest  religious  enthu- 
siasm, and  far  surpasses  in  impoitance  the  tracing 
of  the  ideas  of  mere  art.  For  hymns  arc  the  ex- 
ponents of  the  inmost  piety  of  the  Church.  They 
are  crystalline  tears,  or  blossoms  of  joy,  or  lioly 
prayers,  or  incarnated  ra^jtures.  They  are  the 
iewels  which  the  Cliurch  has  Trom :  the  pearls, 
the  diamonds  and  precious  stones,  formed  into  am- 
ulets more  potent  against  sorrow  and  sadness  than 
the  most  famous  charms  of  wizard  or  magician. 
And  he  who  knows  the  way  that  hymns  flowed, 
knows  where  the  blood  of  piety  ran,  and  can  trace 
its  veins  and  arteries  to  the  very  heart. 

No  other  composition  is  like  an  experimental 
hymn.  It  is  not  a  mere  poetic  impulse.  It  is  not 
a  thought,  a  tancy,  a  feeling  threaded  upon  words. 
It  is  the  voice  of  experience  srjeaking  from  the 
soul  a  few  words  that  condense  and  often  represent 
a  whole  life.  It  is  the  liie,  too,  not  of  the  natu- 
ral feelinij-s  ji-rowiunr  wild,  but  of  reo;onerated  feel- 
ing,  inspired  by  God   o  a  heavenly  destiny,  and 


« 


Appendix.  163 


Hymns. 


making  its  way  through  troubles  and  hinderances, 
through  joys  and  victories,  dark  or  light,  sad  or 
serene,  yet  always  struggling  forward.  Forty 
yeai-s  the  heart  may  have  been  iu  the  battle,  and 
one  verse  shall  express  the  fruit  of  the  whole. 
One  great  hope  may  come  to  fruit  only  at  the  end 
of  many  years,  and  as  the  ri})euing  of  a  hundred 
experiences.  As  there  be  Howcrs  that  drink  up 
the  dews  of  spring  and  summer,  and  feed  upon  all 
the  rains,  and  only  just  before  the  winter  comes, 
burst  forth  into  bloom,  so  is  it  with  some  of  cue 
noblest  blossoms  of  the  soul.  The  bolt  that  pros- 
trated Saul  gave  him  the  exceeding  brightness  of 
Christ;  and  so  some  hymns  could  never  have  beeu 
written  but  for  a  heart-stroke  that  well-nigh 
crushed  out  the  life.  It  is  cleft  in  two  by  bereave- 
ment, and  out  of  the  rift  comes  forth,  as  by  res- 
urrection, the  form  and  voice  that  shall  never  die 
out  of  the  world.  Angels  sat  at  the  grave's  mouth  ; 
and  so  hymns  are  the  angels  that  rise  up  out  of 
our  griefs,  and  darkness,  and  dismay. 

Thus  born,  a  hymn  is  one  of  those  silent  min- 
isters which  God  sends  to  those  who  are  to  be  heirs 
of  salvation.  It  enters  into  the  tender  imagina- 
tion of  childhood,  and  casts  down  upon  the  cham- 
bers of  its  thought  a  holy  radiance  which  shall 
never  quite  depart.  It  goes  with  the  Christian, 
singing  to  him  all  the  way,  as  if  it  were  the  airy 
voice  of  some  guardian  spirit.  When  darkness  of 
trouble,  settling  fast,  is  shutting  out  every  star,  a 
hymn  bursts  through  and  brings  light  like  a  torch. 
It  al^ides  by  our  side  in  sickness.  It  goes  forth 
with  us  in  joy  to  syllable  that  joy. 


164 


Appendix. 


Hymns, 


And  thus,  after  a  time,  we  clothe  a  hymn 
with  the  memories  and  associations  of  our  own  life. 
It  is  garlanded  with  flowers  which  grew  in  our 
hearts.  Born  of  the  experience  of  one  mind,  it 
becomes  the  unconscious  record  of  many  minds. 
We  sang  it  perhaps  the  morning  that  our  child 
died.  We  sang  this  one  on  that  Sabbath  evening 
when  after  ten  years,  the  family  were  once  more 
all  together.  There  be  hymns  that  were  sung 
while  the  mother  lay  a  dying ;  that  were  sung 
when  the  child,  just  converted,  was  filling  the  fam- 
ily with  the  joy  of  Christ  new-born,  and  laid  not 
now  in  a  manger,  but  in  a  heart.  And  thus, 
sprung  from  a  wondrous  life,  they  lead  a  life  yet 
more  wonderful.  When  they  first  come  to  us 
they  are  like  the  single  strokes  of  a  bell  ringing 
down  to  us  from  above :  but.  at  length,  a  sinjile 
hymn  becomes  a  whole  chime  of  bells,  mingling  and 
discoursing  to  us  the  harmonies  of  a  life's  Chris- 
tian experience.  ******** 

And  oftentimes,  when  in  the  mountain  coun- 
try, far  from  noise  and  interruption,  we  wrought 
upon  these  hymns  for  our  vacation  tasks,  we  al- 
most forgot  the  living  world,  and  were  lifted  up 
by  noble  lyrics  as  ujwu  mighty  wings,  and  went 
back  to  the  days  when  Christ  sang  with  His  disci- 
})les.  when  the  disciples  sang  too.  as  in  our 
churches  they  have  almost  ceased  to  do.  Oh ! 
but  for  one  moment  even,  to  have  sat  transfixed, 
and  to  have  listened  to  the  hymn  that  Christ 
sang,  and  to  the  singing  !  But  the  olive-trees  did 
not  hear  his  murmured  notes  more  clearly  than, 
rapt  in  imagination,  we  have  heard  them  ! 


Appendix. 


165 


Hymns. 


There,  too,  are  the  hymns  of  St.  Ambrose 
and  many  others,  that  rose  up  like  birds  in  the 
early  centuries,  and  have  come  flying  and  singing 
all  the  way  down  to  us.  Their  wing  is  untired 
yet.  nor  is  the  voice  less  sweet  now  than  it  Avas  a 
thousand  years  ago.  Though  they  sometimes  dis- 
appeared, they  never  sank ;  but,  as  engineers  for 
destruction  send  bombs  that,  rising  high  up  in  wide 
curves,  overleap  great  spaces  and  drop  down  in  a 
distjint  spot,  so  God,  in  times  of  darkjiess,  seems 
to  have  caught  up  these  hymns,  spanning  long  pe- 
riods of  time,  and  letting  them  ftill  at  distant  eras, 
not  for  explosion  and  wounding,  but  for  healing 
and  consolation. 

There  are  crusaders'  hymns,  that  rolled  forth 
their  truths  upon  the  oriental  air,  while  a  thousand 
horses'  hoofs  kept  time  below,  and  ten  thousand 
palm-leaves  whispered  and  kept  time  above ! 
Other  hymns,  fulfilling  the  promise  of  God  that 
His  saints  should  mount  up  with  Avings  as  eagles, 
have  borne  up  the  sorrows,  the  desires,  and  the 
aspirations  of  the  poor,  the  oppressed,  and  the  per- 
secuted, of  Huguenots,  of  Covenanters,  and  of 
Puritans,  and  winged  them  to  the  bosom  of  God. 

In  our  own  time,  and  in  the  familiar  experi- 
ences of  daily  life,  how  are  hymns  mossed  over 
and  vine-clad  with  domestic  associations  ! 

One  hymn  hath  opened  the  morning  in  ten 
thousand  fimilies,  and  dear  children  Avith  sweet 
voices  have  chai-med  the  evening  in  a  thousand 
places  with  the  utterance  of  another.  Xor  do  I 
know  of  any  steps  noAv  left  on  earth  by  which  one 
may  so  soon  rise  above  trouble  or  weariness  as  the 


166 


Appendix. 


Hjinns. 


verses  of  a  hymn  and  the  notes  of  a  tune.  And 
if  the  angels  that  Jacob  saw  sang  when  they  ap- 
peared, then  I  know  that  the  ladder  which  he  be- 
held was  but  the  scale  of  divine  music  let  down 
from  henven  to  earth.    *    *  * 

A  Hymn-book  is  the  popular  doctrine-book. 
We  suspect  that  it  would  be  found  that  even  edu- 
cated and  reflective  men  are  more  indebted  to 
hymns  for  their  knowledge  of  Scripture  truth 
than  to  all  the  prose  wi'iters  and  commentators 
upon  the  Bible.  And  in  regard  to  the  highest 
truths  of  Scripture,  there  are  no  commentaries  so 
safe,  so  full,  so  identical  in  spii'it  and  temper,  as 
are  the  best  hymns  of  Christendom.  It  is  wor- 
thy of  remark,  too,  that  almost  every  topic  of 
Scripture  has  been  gloriously  translated  through 
the  heart  into  the  English  tongue  by  a  hymn- 
birth. 

The  sublime  representations  of  the  Old  Tes- 
tament of  .Jehovah  have  touched  and  kindled  the 
sacred  singers  of  our  day,  as  really  as  of  the  an- 
cient Hebrew  periods.  The  grandeur  of  God.  His 
wisdom,  power,  goodness  universal  presence; 
His  providence,  niercy,  and  love ;  His  creative 
works  and  His  reuemptivc  .vorks,  are  set  forth  in 
the  voices  of  hundreds  of  hymns  The  Bible  stands 
uneclipsed,  nor  can  ever  any  human  effusion  sup- 
plant it,  any  more  than  art  can  ever  dispossess  or 
overlay  and  hide  the  natural  world.  But  hymns 
may  be  used  in  setting  the  Bible,  as  pearls  ai-e 
made  to  hedge  in  diamonds  upon  a  golden  ground. 

If  the  Bible  should  pei-isli  out  of  our  language, 
it  could  almost  be  gathered  up  again,  in  substance. 


Appendix. 


167 


Hvmns. 

from  out  of  our  hymns— that  take  wing  from  the 
verv  period  of  creation,  and  fold  their  wings  only 
when  thev- touch  the  crystal  battlements.  When 
the  birds  !>egiu  to  look  from  the  north  southwai-d. 
in  autumnal  weather,  a  few.  springing  from  the 
reeds  and  sb-ubs  of  Labrador,  begin  the  aerial 
caravan,  and.  as  they  wind  soutliward.  out  of 
every  tree  and  every  copse,  from  orchanl  and  gar- 
den, come  forth  new  singei-s.  increasing  in  num- 
bers at  every  furlong,  until  at  length,  coming 
down  from  their  high  pathways  in  innumerable 
flocks,  they  cover  provinces  and  fill  forests,  and 
ai-e  heard  triumphing  thi-ough  unfrosted  orchai-ds. 
amid  the  vines,  the  olives,  and  the  oranges,  with 
such  wondrous  bursts  of  song.  that,  as'^one  lies 
between  sleep  and  waking,  he  might  think  the 
Advent  renewed,  and  God  s  angels'  to  be  m  the 
air.    And  so  it  has  pleased  us  often,  in  thought, 
to  liken  the  rise,  and  spread,  and  flight,  and  inul- 
titude  of  hymns  that  have  come  down  from  the 
Ix-ginnings  of  time  into  God  s  pleasant  gardens 
and  vineyai-ds.  in  om-  days,  increasing  as  thev 
flew.    Only  there  is  no  buxl  that  can  sing  like  "a 
hymn.    There  ai-e  no  meamngs  in  all  the  mingled 
sounds  of  all  the  singers  of  th.>  grove,  or  hed»e. 
or  lawn,  like  the  voices  of  hvmns  that  utter  all 
the  mysteries  of  Christ's  love' in  the  human  sold. 

^.  ^"^^ig  to  believe  that  God  gave  forth  a 
subsidiary  iaspii-ation.  and  taught  men  to  sing 
hymns  for  the  Chui-ch.  as  He  had  inspired  holy 
men  of  old  to  speak  and  to  wi-iie  for  her  ?  They 
are  not  eqaal  to  Scripture  nor  clothed  with  its 
authority,  nor  to  be  accepted  as  an  unerring  rule 


168 


Appendix. 


Hymns. 


of  faith  and  practice,  as  is  the  Bible  :  but  I  would 
fain  believe  that  in  their  lower  sphere  they  were 
born  of  the  same  divine  inspirations  as  the  origi- 
nals in  Scripture :  and  though  the  hjma-book  is 
not  a  sun,  it  is  its  satellite,  and  takes  its  light,  to 
reflect  it  upon  our  eyes,  in  rays  which  are  more 
tolerable  because  diminished  in  power,  being  tem- 
pered to  the  weakness  of  our  eyes,  which  can  not 
always  look  the  sun  full  in  the  face. 

But  leaving  out  these  poetical  reasonings,  ex- 
perience has  shown  that  the  Church  has  derived 
large  and  various  instruction  from  the  hymn-book. 
But  its  uses  have  not  yet  been  fully  explored.  Its 
service  is  scarcely  begun. 

In  the  sanctuary  the  Bible  must  speak,  for 
the  most  part,  through  the  voice  of  the  pastor 
and  teacher.  The  congregation  may  murmur  re- 
sponses of  Scripture,  but  can  not  read  it  with  those 
continuous  and  clear  utterances  which  are  required 
for  understanding  and  edification.  The  true  voice 
of  the  congregation  must  be  heard  through  the 
hymn-hook. 

In  our  Christian  congregations,  for  the  most 
part,  the  people  are  only  recipients ;  they  are  not 
participators  or  actors  in  public  worship.  The 
minister  prays  for  them,  the  choir  sings  to  thera, 
and  the  minister  again  preaches  to  or  at  them. 
Their  duty  seems  comprised  in  a  respectful  sym- 
pathy and  patient  reception  of  the  vicarious  wor- 
ship. This  ought  not  to  be.  It  can  not  long  con- 
tinue in  any  congregation  without  drying  up  the 
springs  of  feeling,  and  leaving  public  worship  arid 
as  a  desert,  or  with  only  an  occasional  spot  of 


Appendix. 


160 


HjTiins. 


greenness.  And  that  grievous  evil  has  turned  the 
longings  of  some  wise  and  good  men  to  liturgical 
forms.  That  the  congre'Tdtion  mav  be  enabled  to 
speak,  and  to  utter  its  own  feeling,  it  has  been 
proposed  that  every  church  should  make  selections 
of  Scripuire  to  be  recited,  and  responses  to  be  ut- 
tei"e<l,  and  juiicles  of  iaith  to  be  repeated  every 
Sabbath,  until  ai-ouud  these  great  Scripture  truths 
should  cluster  such  hallowed  associations  as  should 
make  tliem  powei-ful  for  one  s  whole  life. 

But  powei-fiil  associations  will  not  fonai  upon 
literal  sameness.  Verlxil  repetitions  stale  upon 
the  ear.  and  at  length  heap  it  up  with  mere  words. 
A  reciting  of  the  very  same  things,  in  the  same 
places,  over  and  over  again,  will  not  add.  but  take 
away  sacred  influenc-e.  Gotl  s  Word  is  to  be  a 
light  to  OULT  feet  and  a  lamp  to  om-  path,  but  it  is 
not  to  be  laid  down  as  stepping-stones  in  our  path, 
worn  with  ]>erpetual  treadings  and  reealcitrations. 

It  is  not  tamiliariiy  that  iireeils  contempt,  but 
sameness,  and  this  is  the  maiTow  of  that  proverb. 
And  thus  it  came  to  pass,  when  Go«:l  Avould  teach 
the  world — not  forgetting  what  He  had  done  in 
the  outward  world — where  seeds  and  plants  ai-e 
true  to  their  species,  but  never  identical,  varying 
with  amazing  versjitility.  through  leaf,  flower, 
fruit,  and  seed,  so  that  individuality  is  clothed 
with  diversity,  and  extern:tl  differences  hide  inter- 
nal sameness  and  identity — by  this  same  rule  He 
created  the  sacred  Scriptures,  whose  truths  are 
o»e  and  the  5  ^me  in  the  long  revelation  of  four 
thousand  years,  but  never  alike  in  >  .rpressioH . 
One  substance  endlessly  varied  in  expression  ia 


1.5 


170 


Appendix. 


Hymns. 


Go  "s  delight,  in  and  out  of  the  Bible.  The  lan- 
guage of  the  race,  and  all  the  symbols  of  nature, 
and  the  fertility  and  fullness  of  the  human  heart, 
were  employed,  that  the  Divine  truth,  like  a 
miglity  sap  in  the  Tree  of  Life,  should  burst  forth 
in  new  leaves  and  flowers  of  expression,  new  clus- 
ters and  fruits,  all  the  way  down  to  the  Apoca- 
lyptic close. 

And  then,  lest  the  book  should,  by  a  literal 
using,  grow  stale,  and  pall  upon  the  accustomed 
car,  God  appointed  men  in  eveiy  age  to  dissolve 
the  Bible  into  their  own  hearts  ao-ain,  and  give  it 
forth  from  Sabbath  to  Sabbath  in  the  fresh  and 
new  forms  of  life  belonging  to  each  age,  each  coun- 
try, and  every  congregation. 

Identity  of  substance  and  truth,  but  profuse  and 
endless  variations  of  ibrm,  this  is  tlio  genus  of  the 
natural  and  the  spiritual  revelations  of  God. 

Instead,  then,  of  venturing  upon  a  course  that 
is  at  variance  with  analogy,  not  consonant  with 
human  want,  and  not  justified  by  any  success  of 
e.xoerimcnt  hitherto,  it  is  better  to  seek  some 
raetliod  which  shall  give  the  most  various  utter- 
ance in  the  cono-regation  to  the  same  substantial 
truths,  so  that  the  Word  of  God  shall  always  be 
the  life  and  power,  and  men's  language  the  leaves 
and  blossoms,  that  in  autumn  and  spiing  play 
dcith  and  resurrection  in  glorious  I'ounds,  forever 
ciianging.  but  never  altering  tl)e  truth.  The 
hlimn-book  is  th-  liturgy  of  the  congregation. 
it  gives  to  us  hi.story,  biography,  doclrine,  expe- 
rience. It  furnislie-!  tlie  essenti  il  trutlis  of  God, 
and  the  essential  experiences  of  man.    But  so 


Appendix. 


171 


A  Report. 


large  is  its  store,  so  various  its  expression,  that 
the  same  truths  may  be  daily  repeated  and  the 
same  language  never  twice  employed  in  the  year. 

It  is  a  wrong  and  a  sin  for  God  s  people  not  to 
accept  this  s-icred  language  of  worship  !  It  is  a 
grievous  blindness  that  we  do  not  accept  this  won- 
derful liturgy  of  hymns  fi-amed  from  the  heart 
of  ages  for  us  ! 

Sacred  hymns,  whose  nests  have  been  found  in 
every  age,  from  the  very  gray  and  twilight  of  cre- 
ation, seem  to  have  flown  out  and  flocked  to  oui* 
days,  and  are  filling  the  boughs  of  our  churches, 
like  trees  in  the  garden  of  the  Lord,  as  with  birds 
from  heaven,  flitting  fi-om  branch  to  branch.  All 
the  old  days  are  heard  speaking  in  our  days.  The 
voices  of  all  ages  are  collected  as  an  airy  choir  in 
our  own.  The  whole  world  has  been  learning  to 
speak  for  six  thousand  years  that  we  might  have 
a  language  of  the  -people  for  the  sanctuary ! 


IV. 

INFLUENCE  OF  ORATORIOS  AND  CONCERTS  UPON 
CHURCH-MUSIC. 

The  following  article  on  a  subject  of  great  in- 
terest was  read  a  few  years  since  before  a  musical 
convention  in  this  city  as  the  report  of  a  special 
committee  to  whom  the  subject  had  been  referred 
the  preceding  year     It  called  forth  considerable 


172 


Appexdix. 


Oratoria) 

discussion  at  the  time,  but  was  not  then  given  to 
the  public.  The  committee,  it  will  be  seen,  took 
moderate  ground.  They  might  have  pressed  the 
argument  further,  but  were  fearful  of  creatins 
excitement  and  irritation.  Still  the  facts  and 
arguments  they  present  are  worthy  of  the  most 
serious  consideration.  We  give  the  article  en- 
tire : 

QUESTIOXS. 

How  far  is  the  influence  of  oratorial  rehears- 
als beneficial  to  psalmody,  and 

Can  public  concerts  of  sacred  music  be  given 
with  propriety  for  secular  purposes  ? 

The  increased  attention  which  is  devoted  of  late 
to  the  musical  art.  and  the  multiplication  of  pub- 
lic performances  of  sacred  music  throughout  the 
land  can  not  fail  to  exert  powerful  influences  upon 
the  songs  of  the  sanctuary.  To  ascertain  in  some 
measure  the  character  of  these  influences  is  the 
object  of  the  present  Report. 

The  two  questions  here  presented,  involve  con- 
siderations which  are  grave  and  momentous :  and 
all  of  us.  whether  artists  or  amateui-s.  singers  or 
auditoi-s.  are  interested  in  the  right  disposal  of 
them.    The  first  in  order  is — 

IIoic  far  is  the  influence  of  oratorial  rehears- 
als beneficial  to  psalmody  ? 

This  question,  it  will  be  perceived,  is  not  an  ar- 
tistic one.    If  it  wei'e  so.  we  might  dispose  of  it 


Appendix. 


173 


Inflaence. 


in  a  single  word.  Oratorios  are  noble  specimens 
of  composition.  They  are  as  the  classics  of  the 
art.  It  would  be  as  vain  to  reason  against  their 
utility,  as  to  frame  philippics  against  the  great 
productions  of  a  Homer,  a  Virgil,  or  a  Milton. 
They  are  invaluable  sources  of  improvement  to 
the  musical  student,  and  form  an  essential  pait 
of  his  library.  But  the  question  before  us  is  a 
practical  one.  We  are  to  speak  of  relative  in-  , 
liuences  as  they  are.  and  have  been  upon  psalm- 
ody ;  and  in  this  respect,  there  is  sufficient  room 
for  honest  difierenees  in  opinion. 

Our  decisions  upon  this  subject,  however,  must 
necessarily  be  influenced  by  the  views  we  enter- 
tain of  the  nature  and  the  responsiblities  of  church - 
music,  as  a  means  of  Christian  edification.  The 
community  in  regard  to  church-music  may,  for 
the  convenience  of  discussion,  be  ranked  in  two 
general  classes.  In  the  one  we  would  include 
those  who  are  governed,  chiefly,  by  aitistic  \iews, 
habits  and  associations :  and  in  the  other,  those 
who  are  mostly  control  lerl  by  evangelical  senti- 
ments in  religion.  Both  classes,  we  are  aware, 
may  occasionally  be  found  to  subscribe  to  sen- 
timents which  are  not  in  accordance  with  their 
practice — but  we  here  refer  to  such  sentiments  and 
habits  in  church-music  as  are  constantly  embod- 
ied in  prac  ice  :  and  in  this  respect,  all.  we  think, 
may  be  ranked  in  the  two  classes  just  described. 
Let  us  compare  the  practical  views  entertained 
by  these  cla^ises.  and  see  what  are  their  beai'ings 
on  the  question  here  at  issue. 

1.  Those  who  are  under  the  bias  of  artistic 

lo* 


174  Appendix. 


Oratoiial 


views,  fix  their  attention  upon  the  music,  as  that 
which  in  practice  chiefly  concerns  the  office  of 
praise.  Those  of  the  other  class,  on  the  contrary, 
fix  their  mind  upon  the  great  themes  of  salva- 
tion, whicli  are  to  be  so  enunciated  as  to  exert 
a  deeper  influence  upon  the  worshipers.  The  one 
class  enjoying  the  music  on  its  own  account,  be- 
come critical  and  fastidious ;  the  other,  regarding 
^  it  chiefly  as  an  instrument  of  edification,  prefer,  as 
in  pulpit  oratory,  chasteness  and  simplicity  of 
style,  in  distinction  from  every  thing  which  sa- 
vors of  artistic  display.  It  is  not  difficult  to  see, 
in  this  respect,  which  of  the  two  classes  Avould 
find  its  views  most  promoted  by  joining  in  the  re- 
hearsals of  an  oratorio — for  here,  artistic  views, 
arrangements,  habits  and  susceptil)ilities,  are  found 
exclusively  to  prevail.  Such  an  amount  of  skill 
in  execution  is  demanded,  too,  as  of  necessity  to 
absorb  the  attention  of  the  singer. 

2.  By  the  one  class  it  seems  to  be  taken  for 
granted,  that  the  art  can  secure  its  proper  results, 
in  religious  music,  irrespective  of  religious  con- 
siderations in  the  minds  of  the  performers.  Many 
will  confidently  afiirm  this  ;  and  the  numbers  are 
still  greater,  who  are  acting  in  church  music  as  if 
it  were  an  acknowledged  principle.  This  is  seen 
in  the  manner  iu  which  singers  arc  obtained  and 
instructed;  and  in  the  irreligious  character  of 
many  a  teicher  and  leading  singer.  But  by  the 
other  class,  the  appliances  of  the  art  to  strictly 
religious  purposes,  are  viewed  in  the  light  of  im- 
pressive oratory,  which  i-e(|uircs  indispensably,  a 
schooling  of  the  affections  in  the  persons  of  the 


Appendix. 


175 


InSnenc«s. 


Iierfoi-mers.  Here  again,  it  is  not  difficult  to  de- 
cide which  class  wiil  find  its  views  and  habits  pro- 
moted hy  oratoiial  singing ;  especially,  ad  Uiany 
portions  of  an  oratorio,  from  the  high  character  of 
the  music,  require  talent  in  execution  of  the  first 
order,  which  perchance  is  to  be  obtained  only  by 
drawing  upon  the  theater  or  from  tlie  r.  nk-;  of 
decided  immorality. 

3.  Many  of  the  artistic  class  neglect  altogether, 
in  church  music,  the  training  of  the  emotions. 
They  habitually  give  utterance  to  sacred  themes 
during  the  hours  of  preparation,  in  connection 
with  mirth  and  thoughtless  hilarity.  Some  teach- 
ers soeing  the  impi-opriety  of  such  niauagement. 
endeavor  by  the  power  of  mournful  pieces,  to 
kindle  up  a  class  of  transient  emotions  of  the  op- 
posite extreme.  Those  who  have  more  knowledge 
and  experience,  endeavor,  by  close  adaptation  and 
tasteful  execution,  to  call  into  exercise,  the  senti- 
mentalities which  are  in  accordance  with  the  sub- 
ject-matter of  the  song :  but  which  after  all  are 
nothing  better  than  the  offspring  of  musical  sus- 
ceptibility. Any  thing  beyond  this,  is  neither 
attempted  nor  supposed  to  be  necessary. 

With  the  other  class,  however,  the  question  of 
Christian  edification,  is  understood  to  turn  upon 
the  cultivation  of  true  religious  aiiections,  such  as 
relate  to  other  religious  exercises.  And  this  is 
seen  in  the  fact,  that  their  rehearsals  of  church 
music  are  constantly  conducted  in  accordance  with 
religious  order :  and  that  even  the  claims  of  music- 
al expression  are  made  subservient  to  pious  reflec- 
tions and  aspirations.    fJut  who  will  pretend  that 


176 


Appendix. 


Oratorial 


oratorial  rehearsals,  such  as  are  usually  wituess- 
ed;  could  exert  any  congenial  influences,  upon  the 
views,  and  habits,  and  cherished  associations  of  this 
class  of  singers,  \rheu  the  words  of  the  di"ama  are 
strictly  and  decidedly  religious  ?  They  would  I)e 
as  far  from  such  a  result  as  merriment  is  from  se- 
riousness, or  as  mere  imaginative  sentimentality 
is  from  hallowed  religious  meditation.  And  let 
it  be  here  recollected  that,  while  society  remains 
in  its  present  state,  professional  talent,  such  as  is 
indispensable  to  the  entire  success  of  the  oratorial 
school-  Avill  not  be  brought  into  very  close  con- 
nection  with  religious  considerations. 

4.  It  seems  in  practice  to  be  taken  for  granted 
by  the  one  class,  that  the  utmost  which  can  be 
demanded  of  the  performer,  in  church  music,  is 
skill,  taste  and  conception,  such  as  ai'e  appropriate 
to  di-amatic  personation.  This  is  evinced  by  the 
existino;  methods  of  trainino;  and  manaorement ; 
and  by  the  style  of  the  remarks  and  criticisms 
which  are  made  upon  musical  performances  in  gen- 
eral. All  these  are  seen  to  be  artistic,  having 
nothing  in  the  world  to  do  with  questions  of  prac- 
tical godliness  in  the  persons  of  leading  membei-s 
of  a  choir.  Every  thing  Avhich  is  found  to  be 
"  effective,^'  in  style,  goes  with  them  directly  to 
the  heart  as  a  matter  of  course ;  even  though  the 
orisons  should  be  addi-essed  to  Dagon  or  Allah. 
It  suffices  with  this  class,  that  sensibilities  can  be 
enlisted,  though  perchance,  the  Avorship  of  the 
emotions  be  offered  to  the  singers  themselves,  or 
at  the  shrine  of  a  fals  -  deity. 

But  the  othei'"clas3  in  church  music,  endeavor 


Appendix 


177 


Infiaences. 


to  substitute  real  worship,  in  place  of  a  personated 
devotion.  They  insist  on  a  full  commitment  of 
the  soul  in  praise  just  as  in  prayer.  Even  while 
the  words  in  singing  are  didactic  and  hortatory 
and  not  to  be  directly  addressed  to  God,  they  re- 
gard themselves,  in  an  im])Ortant  sense,  as  real 
worshipers.  They  e.xpect  to  find,  especially  in 
the  leading  talent  of  a  choir,  the  evidences  of 
decided  religious  influence.  They  are  Avatchful 
and  prayerful.  They  exercise  the  same  suspicious 
care  over  iraacrinative  influences  in  the  sonors  of 
praise,  that  they  would  over  oratorical  display  in 
exhortation  or  prayer.  Their  meetings  for  re- 
hearsal, their  deportment  at  church,  the  solemn 
attitude  of  their  minds  during  the  exercise  of 
praise ;  and  the  humble  estimate  they  form  of 
their  own  affections,  attainments  and  perform- 
ances, are  all,  as  is  conceived,  in  accordance  with 
the  claims  of  spiritual  religion.  So  far  are  they 
from  trusting  to  mere  artistic  efiicacy,  that  tiiey 
are  accustomed  to  watch  over  themselves  with 
godly  jealousy  as  in  the  presence  of  the  Searcher 
of  hearts. 

Now,  just  in  proportion  to  the  strength  of 
these  principles,  habits,  and  impressions,  in  regard 
to  chui-ch  music,  will  be  the  dread  of  such  influ- 
ences, as  attend  oratorial  singing,  whenever  the 
words  of  the  oratorio  are  of  a  decided  religious 
character.  Persons  thus  conscientious  know  too 
well  the  power  of  habit  over  the  affections,  not  to 
see  in  the  style  of  discipline  which  distinguishes 
that  school;  influences  which  are  at  variance  with 
their  cherished  sentiments  and  aspirations.    To  be 


178 


Appendix. 


OratoTial 


in  the  habit  of  giving  utterance  to  words  Avhich 
are  adapteil  to  the  solemn  use  of  the  church,  in 
the  midst  of  thougutle:>s  hilarity,  and  in  councv- 
tion  with  artistic  difficulties  and  embarrassments  in 
execution,  is  more  than  thev  can  do,  without  ex- 
jieriencing  in  their  own  case,  a  decay  of  spiritu- 
ality in  the  exercises  of  praise  iu  the  solemn  as- 
sembly.   Of  this  they  feel  a.ssured. 

But.  not  to  dwell  longer  on  these  distinctions,  it 
is  easy  to  see  how  they  will  necessarily  affect  our 
decisions  on  the  question  here  at  issue.  Among 
intelligent  minds,  those  who  practically  maintain 
that,  in  time  of  worship,  the  music  should  absorb 
the  attention  of  the  performers,  that  the  art  it- 
self Ls  capable  of  securing  legitimate  results,  and 
that  mere  musical  susceptibility,  or  at  most  well 
conceived  effoits  at  personation  will  secure  the 
ends  contemplated  in  the  office  of  praise — will  of 
course  hail  oratorial  rehearsals  and  pertbrmances. 
skillfully  susuuned  and  couductetl.  as  every  way- 
beneficial  in  their  influence ujwn  p.salmody.  Those, 
on  the  other  hand,  who  practically  maintain  t  '  at.  in 
the  time  of  worship,  the  great  themes  of  religion 
should  absorb  the  attention  of  the  singer,  that  the 
music  should  serve  like  pulpit  oratory,  to  increase 
and  perpetuate  this  interest  in  the  themes,  and 
that,  to  this  end.  religious  motives  and  affections 
are  bv  the  singers  to  be  continually  cultivated  and 
cherished  in  rehearsals  and  performances  of  church 
music — practically  maintaining  and  inculcating 
such  views  as  these,  it  is  impossible  for  them  r.jt 
to  recognize  in  the  prevalence  of  oratorial  rehearstils 
of  the  usual  kind,  a  chiss  of  influences  which  ai-e 


Appexdix. 


179 


Inflnences. 


Strongly  antagonistic  to  those  -which  they  desire  to 
cherish. 

Thus  the  two  cksses  stand,  honestly,  if  not 
strenuously,  maintaining  opposite  opinions  in  re- 
gard to  this  subject.  Which  of  the  two  may  be 
found  at  the  present  time  the  most  numerous  or 
influential  it  is  not  so  material  to  inquire  as  which 
is  nearest  rkjht  in  its  views  and  practices.  If  the 
one  is  in  practice,  too  regardless  of  the  specific 
claims  of  vital  religion  in  church-music,  the  other 
is  in  most  instances,  we  feai-,  too  neglectful  of  the 
art.  in  respect  to  those  properties  of  style  which, 
in  connection  with  right  purposes,  are  indispensa- 
ble to  edification.  Because  style  with  the  one 
class  is  too  artistic,  it  does  not  follow  that  it  should 
be  negligent  or  slovenly  with  the  other.  Yet  as 
lo  religious  considerations,  the  evangelical  class 
have  nothing  to  relinquish.  Whoever  attentively 
considei-s  the  nature  of  ti-ue  religion,  carefully  ex- 
amines the  hallowed  themes  of  SiJvation  which 
constitute  the  basis  of  chui-ch-music,  and  duly  re- 
flects upon  the  character  of  the  numerous  precepts 
and  exhortations  which  have  been  given  in  reorard 
to  this  matter  by  the  great  Master  of  Assemblies 
Himself  will  he  coustrainetl  to  admit,  that  in  the 
practice  of  this  class  of  singers,  as  descrilied  above, 
there  are  no  works  of  supererogation,  no  species 
of  religious  efibrt  which  can  properly  be  termed 
superfuous.  On  the  contrary,  he  will  rather  be 
led  to  complain  of  remaining  deficiencies. 

With  this  view  of  the  subject  we  are  led  to  the 
conclusion,  that  the  ••  practical  benefits  of  oratorial 
singing''  are  chiefly  those  which  relate  to  the  pi  o- 


180 


Appendix. 


Oratorial 


motion  of  music  as  an  art ;  and  these,  no  doubt, 
are  great  and  numerous.  To  what  extent  they 
have  influence  upon  psalmody  in  particular,  it  seems 
impossible  to  determine  with  any  exactness.  Dif- 
ferent views,  as  we  have  seen,  will  be  entertained 
of  this  matter.  We  would  be  fixr  from  undervalu- 
ing the  merits  of  classical  music ;  or  the  efforts  of 
those  who  are  so  successfully  engaged  in  making 
it  understood  and  felt  by  the  community  at  large. 
In  some  important  respects,  their  efibits  are  worthy 
of  all  praise.  But  we  believe  that  religious  mu- 
sic, properly  so  called,  will  never  become  in  this 
country  what  it  ought  to  be  as  an  instrument  of 
edification,  while  the  religious  element  is  so  gen- 
erally  withholden  from  our  systems  of  instruction 
and  practice — nor  can  we  believe  that  oratorial 
singing  has  any  tendency  toward  restoring  this 
element.  This  will  not  be  pretended  by  any  one : 
but  ,what  we  ask  is,  that  the  tendencies  shall  not 
be  found  directly  or  indirectly  adverse  to  this 
restoration :  and  this  most  surely  is  a  reasonable 
demand. 

There  are  religious  subjects  found  in  the  Jew- 
ish history,  which  seem  fitted  for  this  species  of 
drama.  Witness  the  oratorios  of  Sampson  and 
David.  But  there  are  subjects,  also,  which  are 
too  solemn,  too  awful,  and  too  momentous  for 
such  treatment;  as  in  the  case  of  those  which 
form  the  Mount  of  Olives,  where  the  tendencies 
to  irreverence  and  desecration  are  strong,  if  not 
iiTcsistible.  The  same  may  be  said  of  particular 
passages  in  oratorios,  such  as  supplications  ad- 
dressed without  meaning  to  the  Supreme  Beuig ;  or 


Appendix. 


181 


Infliienceg. 


praises  to  Jehovah  and  to  Dagon.  responding  to  each 
other  in  the  same  chorus:  and  this  for  purposes  of 
amusement  or  artistic  display.  The  treatment  of 
religious  subjects  in  a  light  and  irreverent  manner, 
can  not  be  too  strongly  (^ieprecatcd.  Xor  can  it 
fail  to  operate  injuriously  upon  the  minds  of  the 
singers  in  reference  to  exercises  of  praise.  All 
subjects,  however,  are  not  truly  sacred  which  are 
so  denominated  by  the  artist :  nor  ai-e  all  which 
are  sacred  in  reality,  found  to  be  equally  solemn 
and  momentous.  Some  are  far  less  liable  to 
abuse  than  others.  And  since  oratorios  furnish 
so  many  sti-ains  of  surpa.ssing  excellence,  in  every 
musical  point  of  view,  we  are  inclined  to  think 
that  by  some  changes  in  management,  with  re- 
spect to  selections,  rehearsals,  and  performances, 
they  might  be  rendered  more  favorable  to  the  in- 
terests of  psalmody,  than  they  ever  have  been. 
At  the  same  time,  let  us  remember  that  the  true 
spirit  of  praise  which  is  so  pre-eminently  dear  and 
sacred  to  every  enlightened  Christian  mind,  can 
be  acquired  and  cherished  only  in  connection  with 
a  system  of  training  which  infuses  the  religious 
element.  When  this  element  is  wantincr.  the  songs 
of  the  sanctuary  are  but  as  '  •  sounding  brass  or  a 
tinkling  cymbal.  ' 

The  present  tendencies  in  church-music,  we  fear, 
are  decidedly  toward  artistic  extremes :  and  if 
they  are,  we  ought  to  know  it.  and  endeavor  to 
secui-e  the  application  of  an  efficient  remedy.  A 
spirit  of  inquiry  is  already  abroad,  as  to  what  can 
be  the  cause  of  so  much  heartlessness  in  our  ac- 
customed songs  of  praise.    The  question  as  one  of 

16 


182  Appendix. 


Influence  of  dnoerts. 


Christian  experience  and  Christian  principle,  will 
continue  to  be  agitated,  till  tlie  truth  of  the  mat- 
ter can  be  ascertained.  It  will  then  be  well  for 
us,  as  cultivatoi's,  patrons,  and  friends  of  the  art, 
if  we  have  not  boon  found  guiltj  of  any  materi- 
al oversight  or  delinquency. 

The  first  of  the  two  questions  thus  disposed  of, 
the  remaining  one,  "  Can  public  concerts  of  re- 
ligious music  be  properly  given  for  secular  pur- 
poses?' need  occupy  but  a  single  word.  It  ought 
distinctly  to  be  understood  that  religious  subjects, 
in  music  as  in  oratory,  should  always  be  treated 
in  a  reverential  manner.  To  do  less  than  this,  is 
of  course  to  be  guilty  of  desecration.  Concerts 
of  religious  music,  therefore,  require  great  delicacy 
in  management.  In  the  present  condition  of 
things,  they  are  continually  liable  to  degenerate 
into  seasons  of  tasteful  amusement,  even  to  play- 
fulness and  hilarity.  Whenever  they  do  so,  their 
tendency  is  decidedly  injurious.  Secular  sub- 
jects, it  is  true,  are  not  always  improperly  con- 
nected with  prayer  and  praise :  for  we  doubtless 
need  to  seek  the  Divine  favor  and  guidance  with 
respect  to  them.  But  on  those  special  occasions, 
when  we  strive  to  become  musically  effective  in 
the  language  of  praise,  the  tein})tation  to  artist- 
ical  irreverence  and  display  are  so  great,  tliat  we 
call  not  be  too  careful  and  scrupulous  with  regard 
to  our  arrangements. 

The  testimony  of  experience  and  observation 
incline  us  to  decide  this  question  in  the  negative. 
Let  secular  music  be  given  for  secular  purposss, 


Appe:<  dix. 


183 


bifluonoe  of  Concerts. 


and  religious  music  for  religious  purposes.  This 
■vve  think  should  be  adopted  as  a  general  rule. 
The  rule,  however,  as  above  intimated,  does  not 
strictly  apply  to  every  thing  which  is  called  sa- 
cred by  the  artist.  Within  the  range  of  pieces 
so  denominated,  abundant  materials  may  be  found 
which  admit  of  greater  freedom  as  to  sele.;tiou 
and  performance;  but  the  rule  applies,  with  truth 
and  emphasis  to  such  pieces  as  are  sacred  in  the 
highest  sense  of  the  word.  Above  all.  let  con- 
certs of  a  mixed  character  commingling  as  subjects 
of  taste,  things  religious  and  secular,  in  the  same 
connections,  l»e  entn-ely  discardt-d.  Tiiese,  in  our 
opinion,  are  always  injurious  to  the  cause  of  relig- 
ion and  good  taste. 

But  finally,  in  bringing  the  discussion  of  these 
(questions  to  a  close,  we  would  mention  the  rea- 
sons why  the  friends  of  improvement  in  church 
music,  find  such  diflBculty  in  awakening  a  proper 
interest  in  the  subject,  among  the  mass  of  evan- 
gelical Christians.  The  two  classes  above  described 
have  not  understood  each  other,  nci  have  individ- 
uals in  either  class,  well  understood  themselves. 
Sacred  and  secular  maxims,  habits,  and  associations 
have  been  improperly  l)lended.  Artists,  and  :mi- 
ateurs  by  claiming  too  much  in  some  respects, 
have  gained  too  little  in  others  :  and,  by  neglect- 
ing things  essential  to  Christian  edification,  their 
highest  efibrts  in  religious  music,  have  of; en 
proved  fruitless.  Of  what  avail  is  it  to  the  spij  - 
itual  worshiper,  to  listen  to  fine  music  if  he  can 
not  be  really  edified  by  it  ?  The  fault  in  tliis  case 
may  in  part  be  his  own  ;  but  it  is  not  chiefly  his ; 


184 


Appendix. 


A  "Serions  Difficnlty." 


and  it  is  useless  to  reason  with  him  against  his 
own  habitual  experience. 

Before  the  churches  will  fully  second  the  ef- 
forts of  the  friends  of  improvement  in  psalmody, 
the  religious  element,  as  we  have  seen,  must  be 
restored  to  our  rehearsals,  and  thus  be  made  dis- 
tinctly to  appear  in  our  performances  at  church. 
Let  us  labor  at  this  point  in  Christian  faithfulness, 
and  our  efforts  will  not  be  in  vain. 


V. 

MISCELLANEOUS  EXTRACTS. 

We  here  subjoin  a  few  gleanings  of  a  more 
miscellaneous  character,  which  may  1)€  allowed 
to  speik  for  themselves,  without  a  formal  intro- 
duction. They  all  have  a  bearing  upon  the  lead- 
ing subject  of  this  volume,  and  some  of  them  were 
originally  furnished  by  the  editor. 

A   "SERIOUS  DIFFICULTY." 

But  here,  in  the  mind  of  many  intelligent  and 
conscientious  worshipers,  arises  a  serious  difficulty; 
and  one  which  they  suppose  in  the  present  con- 
dition of  things  is  insurmountable.  The  difficulty 
may  be  thus  stated :  If  the  most  successful  cul- 
tivators in  the  midst  of  us — men  who  devote 
much  time,  and  labor,  and  expense,  in  qualifying 
themselves  for  leading  the  praises  of  God,  in  our 


185 


A  "  Serious  Difficnlt>\" 


worshiping  assemblies,  are,  after  all.  so  deficient 
in  their  acquirements  as  vce  find  them,  how  can 
the  rest  of  the  community  hope  to  accomplish  any 
thing  to  the  purpose  by  such  means  and  oppor- 
tunities as  are  within  their  power  ? 

In  meeting  this  difliculty  I  am  willing  that  it 
should  be  fairly  appreciated.  Let  it  have  its  full 
weight.  For  argument  s  sake  let  it  even  be  re- 
garded  as  insurmountable.  And  what  is  the  in- 
ference ?  Plainly,  that  no  remedy  is  to  be  found. 
The  churches  then  have  a  right  to  trample  on 
the  art :  and  individuals  to  admonish  one  another 
in  the  jargon  of  dissonant  voices  and  unintelligi- 
ble articulations.  And  then,  too,  we  must  affirm 
that  the  musical  art  has  outlived  the  period  of  its 
utility;  and  that  what  has  so  often  been  effected 
in  ages  of  comparative  darkness,  is  now  rendered 
impracticable  amid  increasing  light  and  accumu- 
lating facilities.  Our  readers  are  not  ready  for 
such  a  conclusion  as  this :  and  will  therefore  be 
willing  to  abandon  the  premises  that  lead  to  it. 
Then,  ))y  every  fair  principle  of  inferential  argu- 
ment, I  would  say  the  difficulty  oiifjht  to  he  sur- 
mounted. The  cause  of  Zion  requires  it.  The 
honor  of  the  Christian  name  requires  it.  It  is  a 
shame  for  us  to  be  undervaluing  the  high  praises 
of  our  God.  His  language  is — "Whoso  offereth 
praise  glorifieth  Me."'  And  He  has  distinctly 
pointed  us  to  the  constituted  method  of  prais- 
ing Him.  Have  we  found  out  a  better  method  ? 
And  may  that  which  God  Himself  constituted, 
now  be  neglected  with  imi:»uuity  ? 

But  let  us  approach  this  difficulty,  and  see 


186 


Appendix. 


A  "Serious  Difficulty." 


if  it  can  not  be  fairlj  met.  What  is  the  amount 
of  it?  Why,  simply  this,  that  because  some  are 
"  for  ever  learning;  Avitliout  comino-  to  the  knowl- 
edge  of  the  truth,"  the  rest  who  have  not  been 
studying  may  as  well  despair  of  finding  it.  and  sit 
down  in  idleness.  We  have  not  so  learned  Christ. 
Every  man  must  stand  or  fall  on  his  own  respon- 
sibility. 

We  admit  that  the  difficulty  in  question  has 
become  great ;  but  we  assert,  fearless  of  contra- 
diction, that  it  has  grown  out  of  that  very  general 
neglect  of  the  subject  which  it  proposes  to  excuse 
and  perpetuate.  The  truth  is,  that  often  in  refer- 
ence to  devotional  song,  cultivation,  where  it  has 
been  resorted  to,  has  greatly  mistaken  its  end. 
There  has  been  in  this  respect,  a  world  of  mis- 
direction ;  and  tlie  evil  will  never  be  cured  till  the 
work  is  taken  in  hand  on  Christian  principles. 

The  maxims  of  the  devotional  and  of  the 
secular  departments,  are  in  some  important  re- 
spects, fundamentally  at  vai  iance  with  each  other. 
The  one  has  religious  edification  for  its  object ; 
the  other  amusement.  The  one  makes  its  appeal 
chiefly  to  the  heart :  the  other  addresses  itself 
principally  to  the  imagination.  The  one  aims  at 
true  pathos,  like  the  eloquence  of  the  pulpit :  the 
other  has  but  the  pathos  of  polished  style  or  dra- 
matic sentimentality.  'The  one  excludes  the  os- 
tentation of  display :  tlie  otlier  tolerates  and  en- 
courages it,  as  a  matter  of  necessity.  The  one 
demands  true  sensibility  of  soul  in  reference  to 
the  sacred  words  of  the  song  :  the  other  has  little 


Appendix. 


187 


A  "  Serious  Diflicalty." 


to  do  with  words  except  as  furnishing  occasion  for 
music. 

The  points  of  difference  relate  not  merely  to 
composition  and  e.xecution  but  to  systems  of  culti- 
vation. Devotional  music,  according  to  the  de- 
sign of  the  institution,  directs  its  appeals  to  all, 
even  the  humblest  classes  in  community.  Secu- 
lar music,  regarded  as  a  fine  art,  despises  every 
thing  like  mediocrity,  and  delights  to  elevate  it- 
self above  the  level  of  popular  apprehension. 
In  the  consistent  school  for  devotional  music,  it 
early  becomes  a  leading  object  to  inculcate  the 
distinct  enunciation  of  the  sacred  text.  The 
pupil  must  be  taught  to  speak  intelligibly,  though 
for  a  time  he  does  so.  more  or  less,  at  the  expense 
of  melody.  Polish  of  manner  is  necessarily  Avith 
him  a  later  acquirement.  But,  in  the  secular 
school,  the  voice  is  treated  throughout,  as  a  musi- 
cal instrument  of  a  higher  order,  scarcely  en- 
dowed with  the  power  of  verbal  utterance.  It 
often  claims  our  highest  admiration,  even  in  an 
unknown  tongue.  Witness  for  example,  the 
crowds  at  our  Italian  operas  and  concerts,  where 
not  a  single  syllable  is  understood  by  the  eager 
listeners ! 

Such  important  distinctions  as  have  here  been 
suggested,  1  am  sorry  to  say,  have  been  for  a  long 
time  overlooked  by  the  friends  of  cultivation. 
Men  of  secular  views,  associations,  and  principles, 
have  so  generally  taken  the  lead  in  this  business, 
that  their  habits  and  maxims  and  methods  of  man- 
agement have  extensively  prevailed  without  being 
investigated,  or  called  in  question.     And  who 


188 


Appendix. 


Difficulty  Obviated. 


even  now  shall  dare  to  rise  up  against  the  highest 
geniuses  in  Christendom,  charging  the  idols  of 
public  favor  with  the  least  suspicion  of  imperfec- 
tion or  fallibility !  Who  can  speak  in  the  gen- 
tlest manner  of  the  possibility  of  misdirection  ? 

I  am  no  enemy  to  the  higher  walks  of  cultiva- 
tion. Let  them  have  an  appropriate  place.  All 
I  ask  is  proper  discrimination  *in  management. 
Music,  like  painting  and  poetry,  will  doubtless 
continue  to  be  cultivated  extensively  as  a  secular 
art.  And  why  should  it  not?  What  should 
hmder  ?  As  well  miglit  we  say  that  no  eloquence 
should  ever  be  cultivated  but  that  of  the  pulpit. 
The  pulpit  itself  is  benefited  by  the  lessons  of  elo- 
quence wiiich  it  derives  from  the  bar  and  from  popu- 
lar assemblies.  And  this  is  a  species  of  advantage 
which  it  could  not  well  afford  to  lose.  At  the  same 
time,  let  it  be  remembered  that  the  pulpit  has  a 
distinct  school  of  its  own.  It  has  its  own  pe- 
culiar maxims  and  associations,  and  purposes,  and 
principles,  which  are  not  to  be  set  aside,  in  favor 
of  dramatic  sentimentality,  or  invaded  by  the  dic- 
tates of  every  talental  declaimer  who  wins  upon 
the  public  favor.  Real  improvement  it  can  in- 
deed derive  fi-om  almost  every  source  imaginal)le, 
without  departing  from  fundamental  principles. 
These  are  ever  to  be  held  inviolate. 

We  ask  for  devotional  music  the  same  precise 
thing — the  same  independence  of  foreign  dicta- 
tion -the  same  liberty  to  form  a  system  of  its 
own  in  reference  to  religious  associations  and 
principles.  And  surely  this  is  no  unreasonable 
demand.    Let  this  be  granted,  and  the  work  of 


Appendix. 


189 


Case  Supposed. 


reform  will  uo  longer  be  deemed  impracticable. 
Difficulties  of  eveiy  kind,  however  insurmountable 
they  might  appear  under  other  circumstances,  will 
then  be  readily  obviated. 

MUSICAL  INSTRUCTION. 

A  Case  Supposed. 

I  endeavored  to  show  that  the  difficulties  in  the 
way  of  musical  reform  can  be  obviated  by  estab- 
lishing, for  the  cultivation  of  church  music,  a 
system  of  management  which  shall  correspond,  as 
in  the  case  of  pulpit  oratory,  with  the  vital  claims 
and  principles  of  religion.  But  this  topic  requires 
further  illustration. 

Let  us  then  suppose  a  strong  case,  and  one 
which  has  never  yet  occurred.  A  church  sud- 
denly awakes  to  the  importance  of  devotional 
music,  and  its  members  design  to  become  active 
in  the  work  of  cultivation.  Funds  are  raised, 
sufficient  to  employ  an  instructer  of  the  highest 
professional  talent :  and  Monsieur  A  or  Signor  B, 
from  the  theater  or  opera,  is  the  man.  Allow  him 
if  you  please  (what  is  not  always  found  in  such 
cases)  conciliatory  manners,  and  pure  morals, 
while  he  is  destitute  of  any  special  regard  for  true 
religion.  The  school  has  opened;  how  does  he 
proceed  ? 

1.  He  adopts  the  very  convenient  maxim  that 
no  voices  are  worthy  of  being  cultivated  but  tliose 
which  are  already  developed,  and  which  appear 
to  be  of  a  higher  order.    Out  of  the  thousand 


190 


Appendix. 


Case  supposed. 


members  of  the  congregatiou,  some  twenty  or 
thirty  are  selected,  who  happily  are  professors  of 
religion :  the  rest  are  dismissed,  as  having  at  pres  - 
ent  no  fui'ther  concern  in  the  undertaking. 

2.  He  adopts  the  maxim,  too  prevalent  among 
men  of  the  secular  school,  tl|at  psalm-singing 
injures  the  voice."'  Secular  songs,  therefore,  are 
adopted,  for  a  time  at  least,  as  the  best  means  of 
disciphning  the  voice,  and  improving  the  taste  of 
his  pupils. 

3.  The  better  to  form  the  taste  of  his  pupils, 
he  continually  points  out  the  supposed  defects  or 
redundances  that  exhibit  themselves  in  the  style 
of  the  best  schools  or  chou-s  in  the  vicinity.  All 
strong  expressions  savor  of  vehemence :  all  dis- 
tinctness of  enunciation  is  but  rudeness  of  man- 
ner. Music  is  one  thing  and  speech  is  another. 
Others,  if  they  choose,  may  talk  and  imagine  them- 
selves to  be  really  singituj.  But  this  is  not  to 
sing  after  the  most  approved  method. 

4.  But  at  length  the  work  of  cultivation  has  so 
far  advanced  that  the  rest  of  the  chui-ch  begin  to 
meet  with  the  singers  for  the  special  purpose  of 
edification  The  words  of  a  psalm  or  hymn  *  *  * 
uttered  or  not  must  now  claim  tlie  solemn  atten- 
tion of  the  performers.  The  little  band  of  vocal- 
ists desire  to  feel  the  full  import  of  the  words, 
that  then-  performance  may  be  tiuly  impressive  ; 
but  their  teacher  aims  only  at  decent  formality : 

"  Pious  orgies,  pious  airs, 
Decent  worship,  decent  prayers." 

They  desire  to  feel  religiously  the  full  import  of 


Appendix. 


191 


Case  sappose<1. 


■what  they  sing,  and  would  be  asliamed  of  luke- 
vrannufss  in  such  a  service.  He  desires  tiot  to 
teel  religiously,  and  would  secretly  scorn  to  be 
susi)ected  of  any  such  thing.  Their  emotions 
would  incline  to  kindle  and  interchange  with  the 
vai-ied  current  of  thought  suggested  by  the  text 
before  them :  his  emotions  would  have  constant 
i-ef^rcnce  to  the  abstract  features  of  the  tunc,  ex- 
cept here  and  there  in  descriptive  passages,  where 
bomethinjr  like  sta^re  effect  mij/ht  seem  to  be  indi- 
Gated.  At  length,  then,  the  parties  are  quite  at 
issue.  The  highest  expression  of  sentiment,  thei-e- 
fore,  must  now  l>e  virtually  abandoned,  or  the 
teacher  must  Ije  discharged.  Yet  as  the  latter 
has  been  faithful  in  his  way.  aud  his  pupils  are 
making  fine  progi'ess.  it  seems  a  pity  to  dismiss 
him.  His  school  continues,  and  most  of  his 
habits  and  maxims,  and  associations  of  thought 
and  feeling  ultimately  prevail. 

5.  Another  period  of  iusn-uction  has  elapsed, 
and  the  teacher  aud  his  pupils  are  assembled  to 
give  a  sacred  concert.  ^Nothing  now  is  too  diffi- 
cult for  their  execution.  The  music  is  enchant- 
ing. It  has  lifted  up  the  souls  (i.  e.  imaginations) 
of  the  amateurs  to  the  thud  heavens.  All  that 
is  lofty  or  imposing,  sublime  or  Ijeautiful  in  de- 
scription, is  skillfully  illustratefl  by  the  perform- 
er's. They  act  their*  part  well,  and  the  audience 
are  deeply  interested.  Some  are  even  in  rap- 
tures. "What  music!"  "What  fine  music  i  ' 
every  one  exclaims.  '  •  What  wonderful  skill ; 
what  an  excellent  teacher:  what  fine  pupils  I  " 
And.  professionally  speaking,  this  is  correct. 


192 


Appendix. 


Case  supposed. 


We  have  an  exhibition  of  masterly  skill  and  ex- 
quisite taste,  if  not  of  refined  sensibility.  One 
thino;  is  wanting :  and  that  the  teacher  has  never 
intended  to  supply.  Other  matters  have  occupied 
the  exclusive  attention  of  his  pupils ;  and  now 
while  themes  of  the  most  mobentous  import  are 
falling  from  their  lips,  they  are  but  "acting  a 
part''  for  the  public  gi-atification.  The  words  of 
prayer  and  praise  dwell  on  their  tongues,  but  no 
one  suspects  them  of  preteutliug  to  engage  in  a 
solemn  act  of  worship.  They  are  personating, 
describing,  representing  such  acts,  in  a  beautiful 
and  imposing  manner.  But  the  singers  are  not 
worshipers.  Real  worship  is  not  now  the  precise 
object  in  hand ;  nor  in  fact,  had  it  ever  been  so, 
dui'ing  the  whole  period  of  their  instruction. 
Even  while  at  church  on  the  Sabbath  their  con- 
science had  not  been  remarkably  inquisitive. 

The  concert  has  ended.  The  musicians  receive 
due  praise.  And  now — is  this  the  style  of  the 
worship  which  is  henceforward  to  be  offered.  Or, 
on  the  contrary,  are  we  to  presume,  that  singei-s 
thus  trained,  and  thus  commended  for  their  pro- 
ficiency, will  all  at  once  assume  new  habitji  in 
favor  of  strict  devotional  influence  ?  This  tiling  can 
not  be  without  the  intervention  of  a  miracle. 
Habits  formed  with  such  system  and  care,  and 
success,  will  continue  in  a  great  measure  to  pre- 
vail. The  devout  minstrels  may  be  as  solemn, 
perhaps,  as  the  deluded  devotees  of  an  idol's  tem- 
ple, but  their  thoughts,  in  spite  of  every  effort 
to  the  contrary,  Avill  continue  to  wander  from  the 
subject-matter  of  song,  and  their  afl'ections  to  be 


ApI'  EShlX. 


Case  supposcil. 


either  Linguid  or  irrelevant.    To  fhein  at  leiisi, 
the  exercise  of  singin;!  Avill  not  l)e  remarkable  for  its 
spirituality ;  and,  to  the  congregation  at  large,  it 
will  savor  more  of  tasteful  gratification  than 
i-eligious  improvement. 

I  have  supposed  such  a  case  as  the  above,  that 
I  might  avoid  all  seeming  personalities.  I  shall 
not  be  suspected  of  undervaluing  professional 
talent  as  such,  or  of  entering  my  protest  agjiiust 
public  performances.  Nevertheless,  the  results  I 
have  here  depicted  are  painful  living  realities 
amid  the  thousand  churches  of  the  land — results 
quite  palpable  to  common  observation.  May  I 
not  venture  to  say  that  even  amid  the  instances 
of  higher  cultivation  they  are  almost  universal  ? 
Facts  and  incidents  are  not  wanting  in  proof  of 
this  point.  I  might  allude  to  the  haliits  and  cm- 
rent  maxims  of  pi-ofessed  Christians — to  the  per- 
sonal experience  of  thousands  of  the  devout  who 
fail  to  be  truly  edified,  either  as  hearers  or  per- 
formers, though  ic^norant  of  the  rei'  cause.  But 
I  forbear.  It.  will  readily  be  admitted  that  the 
results  are  not  in  accordance  with  the  ends  of  the 
institution  of  sacred  praise ;  and  that  their  exist- 
ence is  to  be  attributed,  in  some  measure,  to  the 
undue  prevalence  of  secular  maxims  and  princi- 
ples in  oui"  schools  of  sacred  music. 

And  suppose  that  a  majority  of  the  little  band 
of  pupils  above  mentioned  had  not  been  Christian 
professore ;  or  that  instead  of  the  whole  church 
coming  up  to  their  assistance  and  patronage,  a 
very  limited  number  only  had  co-operated  with 
them,  while  the  rest  in  due  time  were  to  be  taken 


17 


194 


Appendix. 


Case  supposed. 


by  surprise  by  the  sudden  introduction  of  a  new 
style.  Or  suppose  that  a  -whole  church,  with  its 
paostor  and  session,  had  uniformly,  for  a  long  pe- 
riod, confided  the  interests  of  sacred  praise  exclu- 
sively to  the  non-professing  members  of  the  con- 
gregation, as  a  mere  matter  of  decent  formality 
belonging  of  right  to  them  alone ;  and  that  some 
forty  or  fifty  of  the  youth,  for  the  mere  purpose 
of  social  enjoyment,  had  banded  together,  em- 
ployed theii"  own  teacher,  and  from  fii-st  to  last 
assumed  the  entire  direction  of  every  thing  in  re- 
lation to  the  interests  of  church  music !  Who 
does  not  see  in  every  such  case,  that  abuses  of 
the  institution  would  continue  to  abound  and  pre- 
vail. Even  were  the  chosen  teacher  a  devoted 
Christian  he  could  effect  very  little  in  the  way  of 
reform.  He  would  be  as  a  spark  of  fire  amid  the 
snows  of  winter. 

These,  I  ain  sorry  to  say,  are  not  merely  sup- 
posititious cases,  nor  cases  of  rare  occurrence ;  nor 
ai-e  they  by  any  means  the  most  adverse  that 
could  be  named.  Very  far  fiom  it.  I  could 
speak  of  long  and  bitter  animosities  and  conten- 
tions among  the  members  of  a  choir  ;  of  teachers 
not  only  ignorant  and  vulgar,  but  depraved  in 
morals  and  principles :  of  whole  churches  depre- 
cating the  existence  of  a  singing  school  as  "an 
unruly  evil,  full  of  deadly  poison. ' '  Yes,  and  of 
beloved  ministers,  too,  who  had  Ijeen  warned  in 
the  very  schools  of  the  prophets  always  to  "let 
the  singing  alone  if  they  would  keep  out  of 
trouble;"  and  who  to  the  end  of  their  lives  scru- 


Appendix. 


196 


"Want  of  Teachers. 


pulously  adhering  to  this  rule  of  policy,  were 
always  in  trouble. 

How  evident  is  it,  then,  that  little  can  be  done 
in  the  w^ay  of  reform  without  extensive  mutual 
co-operation !  The  churches  must  once  more 
take  the  interests  of  sacred  praise  into  their  own 
hands,  as  in  days  of  old,  calling  upon  all  the 
members  of  a  congregation  indiscriminately  to  co- 
operate Avith  them,  according  to  their  various  tal- 
ents and  opportunities.  Then  this  interest  will 
stand  upon  the  right  basis,  as  in  the  case  of  Sab- 
bath Schools,  Missionary,  Bible,  Tract  and  Tem- 
perance Societies.  The  cause,  by  the  blessing  of 
God,  Avill  then  be  seen  to  prosper.  Better  teachers 
will  arise.  Better  maxims,  principles,  habits,  and 
associations  will  begin  to  prevail.  Then  there  will 
be,  as  in  the  days  of  old,  union  of  heart  and 
voice.  Cultivation  will  advance  on  right  prin- 
ciples, as  ascertained  by  experience ;  and  the 
churches  will  begin  to  be  edified,  in  a  manner 
hitherto  unknown  in  modern  times. 

This  would  not  be  a  novel  experiment.  More 
than  twenty  years  ago  it  was  tried  by  a  few 
churches  in  this  city  with  delightful  success. 
But  the  impression  has  disappeared  in  the  changes 
of  population. 

WANT  OF  TEACHERS. 

But  where  shall  suitable  teachers  be  obtaine  1  ? 
and  how  shall  they  be  supported  ?  Here  are  two 
very  important  incjuiries.  Let  the  churches  an- 
swer the  latter  as  they  should  do,  and  the  former 


196 


Appendix. 


Spiritual  Preparation. 


"will  soon  find  a  solution.  If  the  office  of  teacher 
is  not  sufiiciently  respectable  to  secure  general 
co-operation,  let  them  make  it  so.  If  it  is  not 
sufficiently  lucrative  to  prevent  starvation,  let 
them  make  it  so.  The  means  are  in  their  power  : 
and  they  should  remember  that  the  Avorkman  is 
■worthy  of  his  hire.  There  would  soon  be  no 
want  of  musical  talent  in  the  churches,  if  the 
subject  was  properly  taken  in  hand;  but  while  it 
continues  to  be  neglected,  we  must  not  think  it 
strange  if  the  office  is  often  filled  with  unworthy 
incumbents. 

We  have  seen  that  a  fearfiil  amount  of  respons- 
ibility is  resting  upon  those  who  lead  our  devo- 
tions in  the  songs  of  praise.  Nor  does  it  rest 
upon  these  alone.  It  rests  upon  the  silent  listen- 
ers and  upon  the  neglecters  of  this  service ;  and 
especially  does  it  rest  upon  those  who  willingly 
consign  it  to  improper  hands,  knowing  that  with- 
out a  miracle  the  true  interests  of  edification  will 
not  be  sustained. 


SPIRITUAL  PREPARATION. 

We  have  said  that  the  claims  of  a  mere  person- 
ated worship,  can  not  be  secured,  unless  the  pupils 
are  well  instructed  as  to  the  sentiment  of  the 
themes,  and  are  induced  to  make  the  latter  the 
subject  of  meditation  while  they  sing.  But  fur- 
ther preparation  is  wanting  to  secure  the  ends  of 
true  devotion. 

Let  us  here  compare  the  language  of  the  con- 


Appendix. 


197 


Spiritaal  Preparation. 


secrated  themes  with  that  which  is  usually  em- 
plojetl  in  social  prayer. 

^Ve  are  accustomed  on  all  ordinary  occasions, 
to  pray  for  mercy  and  forgiveness  in  moderate 
terms,  lest  the  language  should  seem  to  indicate 
more  emotion  than  is  usually  felt :  but  in  song  we 
hesitate  not  to  employ  the  language  of  great  earn- 
estness, as  in  the  fifty-fii'st  Psalm,  and  in  the 
hymn 

'•  Mercy,  0  thou  Son  of  David." 

We  often  pray  for  conformity  to  God  and  for  the 
spii-it  of  obedience,  as  if  doubting  of  our  own  de- 
sires and  motives  ;  but  in  song  unhesitatingly  ex- 
claim, 

'•  0  how  I  love  thy  holy  law." 

On  occasions  of  thanksgiving  we  make  moderate 
prefessions  of  gratitude  in  prayer,  and  acknowl- 
edge our  deficiency  in  the  oifering.  but  in  song, 
we  break  forth  in  the  fullest  emj^hasis  of  meaning, 

'•Bless  the  Lord,  0  my  soul" — or 
"  Yes,  I  will  bless  thee,  0  my  God," 

"We  pray  for  fixedness  of  thought :  but  the  Psalm- 
ist exclaims — "My  heart  is  fixed.  0  God,  my 
heart  is  fixed.''  Our  satisfaction  and  delight  in 
the  divine  government  are  generally  expressed  in 
moderate  terms  while  at  prayer  :  and  often  we  do 
no  more  than  ask  for  the  grace  of  submission :  but 
in  praise  there  is  no  such  hesitation,  We  cill 
upon  every  thing  that  breathes — upon  natm-e  ani- 
mate and  inanimate — 

'•  0  for  a  shout  of  sacred  jo)', 
To  God  tlie  sovereign  King," 
17* 


198 


Appendix. 


Spirimai  Preparations. 


We  call  on  the  rocks,  and  the  hills,  and  the  val- 
leys, and  the  wares,  and  islands,  and  depths  of  the 
sea  to  join  in  the  anthems  of  pi-aise,  and  rejoice 
in  the  holy  sovereignty  of  God. 

Xow  let  these  deep  supplications  and  acknowl- 
edgments, and  these  high  ascriptions  of  praise,  in- 
volving such  unreserved  commitment  of  soul,  be 
transfen-ed  to  the  oflSee  of  prayer :  and  let  us  sup- 
pose that  those  who  lead  in  the  office  habitually 
neglect  all  preparations  for  the  solemn  employ- 
ment, excepting  such  as  relate  to  manner — that 
they  notice  the  language  in  reference  to  such 
things  as  tones  and  inflections,  and  meilitate  upon 
it  chiefly  in  regard  to  oratorical  eflect  or  imagin- 
ative sentimentality.  What  would  be  thought  of 
such  conduct  ?  Hypocrisy  !  h  yporrisy  !  would 
be  the  universal  cry.  The  disclosure  of  such 
conduct  would  excite  a  general  bui^t  of  holy  in- 
digmition. 

But  how  is  the  case  materially  altered  by  this 
transfer  of  themes  ?  Is  solemn  mockery  any  less 
offensive  in  praise  than  in  prayer  ?  And  will  the 
consideration  of  crotchets  and  quavers,  and  time- 
tables, and  accents  and  emphases,  and  cadences, 
and  melodic  and  hai-monic  relations,  in  connection 
with  the  phraseology  of  the  themes,  and  of  mere 
musical  expression,  have  any  direct  tendency  to 
induce  such  high  and  holy  and  unreserved  com- 
mitment of  soul?  Far  fi-om  it.  They  will  have 
the  opposite  tendency,  unless  the  mind  is  preparetl 
by  solemn  me<litation  and  deep  seorohings  of 
heait.  A  few  general  hints  from  the  teacher  in 
connection  with  formal  irrelevant  supplications 


Appendix. 


199 


Verbal  Utterance. 


will  be  nothing  to  the  purpose.  The  important 
habit  of  uniting  holy  affections  with  such  hallowed 
themes  of  religious  song,  will  never  be  acquired 
without  a  more  thorough  and  consistent  course  of 
religious  trdining.  The  man  who  leads  in  prayer 
is  allowed  in  some  sense  to  speak  as  he  feels :  but 
those  who  lead  in  praise  ai'e  required  to  feel  what 
in  the  whole  cii-cle  of  religious  topics  they  may 
be  suddenly  called  upon  to  speak.  Which  of  the 
two  parties,  according  to  this  view  of  the  subject, 
should  seem  to  need  the  highest  measure  of  re- 
ligious preparation  ?  Let  the  chui-ches  answer 
this  question. 

BIGHT  USE  OF  WORDS  IX  SLN'GES'G. 

There  are  those  standing  high  in  the  ranks  of 
cultivation,  who  either  deny  the  importance  of 
verbal  themes,  or  depreciate  their  value  in  re- 
ligious music.  Music  has  an  expressive  language 
of  its  own.  Without  the  aid  of  words  it  can  often 
speak  to  the  heart,  if  not  to  the  ondei-standing. 
It  can  call  forth  emotions  of  sorrow  and  joy  :  it 
can  encotu-age  hope,  kindle  the  feelings  of 
solemnity,  and  arouse  the  entire  sympathies  of  a 
congregation.  This,  we  shall  be  told,  is  the  high- 
est pride  of  the  art,  and  what  constitutes  its  chief 
excellence. 

But  who  shall  assure  us  that  such  appeals  of 
sentimentality  will  generally  meet  with  an  intelli- 
gent response  from  the  listener,  and  that  in  refer- 
ence to  legitimate  objects?  Soitow,  joy.  hope, 
solemnity,  and  other  kindred  emotions,  may  fail  to 


200 


Appendix. 


Vi-rlral  rtWrance. 


be  excited,  or  thej  may  be  callal  forth  by  wrong 
objects.  There  is  a  sorrow  of  the  world  that 
worketh  death,  a  joy  of  the  hypocrite  which  is  but 
for  a  moment,  and  a  hope  of  the  self-deceived 
which  is  as  the  spider's  web.  There  is  a  solemnity 
too,  which  is  as  really  unproductive  as  if  it  came 
from  the  temples  of  idolatry.  The  language  of 
musical  expression  has  its  importance.  But  gen- 
erally speaking,  it  is  of  a  nature  too  ambiguous 
and  indefinite  to  answer  the  ends  of  rehgious  de- 
votion without  the  aid  of  an  interpreter. 

We  have  also  to  meet  an  objection  which  comes 
from  the  oppcsite  quarter.  The  consecrated 
themes,  it  is  averred,  are  too  solemn  and  momen- 
tous in  their  import  to  be  made  the  bases  of  musi- 
cal practice.  It  is  as  if  the  rhetorician  or  the 
orator  were  to  exercise  his  pupds  scholastically  in 
the  language  of  prayer.  This  objection  is  en- 
titled to  the  utmost  respect,  for  it  is  not  the  off- 
spring of  a  captious  disposition.  The  endless 
repetition  of  solemn  words  in  the  drilling  exer- 
cises, has  doubtless  a  tendency  to  lessen  their  im- 
portance in  the  mind  of  the  pupils :  and  great 
injury  has  often  arisen  from  this  kind  of  manage- 
ment. To  prevent  such  an  evil,  two  different 
courses  have  been  occasionally  pursue*!.  The  one 
has  been  to  select  such  words  as  are  comparatively 
unimportant  for  the  themes  of  song  ;  and  the 
other  to  publish  the  tunes  entirely  without  words. 
The  fii'st  of  those  methods  seems  inconsistent  with 
true  adaptation ;  and  the  other  leaves  the  subject 
v^itbout  any  suitable  provision. 
-  But  the  questionable  practice  referred  to,  is 


Appendix. 


201 


Mental  Associations. 


not  the  one  we  are  advocating.  IVIusic-sjllables, 
and  not  the  themes  of  song,  should  for  the  most 
part  be  employed  in  the  drilling  exercises.  Even 
in  the  practice  of  enunciation  we  need  not  be 
constantly  resorting  to  the  consecrated  themes. 
The  latter  must  be  occasionally  used,  if  pupils 
are  to  be  duly  disciplined ;  but  exercises  of  this 
nature  should  in  general  be  short,  always  earnest 
and  definite,  and  free  from  every  appearance  of 
levity.  To  such  a  restricted  use  of  the  themes, 
there  can  be  no  solid  objection. 


IRRELEVANT  MENTAL  ASSOCIATIONS. 

In  circles  Avhere  there  is  but  little  taste  or  cul- 
tivation, the  principle  of  association  will  not  be 
extensively  recognized.  Hence  the  most  unfor- 
tunate adaptations  of  music  to  sacred  words  which 
can  well  be  conceived,  bring  to  certain  classes  of 
worshipers  no  irrelevant  ideas :  while  to  other 
classes  they  convey  every  thing  Avliich  is  offensive 
to  taste  or  revolting  to  pious  sensibility.  The  old 
amatory  ballad  '•  0  saw  ye  not  my  father?"  for 
example,  was  some  forty  years  ago  furnished  with 
a  miserable  parody,  setting  forth  Lady  Washing- 
ton's lament  for  her  absent  husband,  "  Saw  ye 
not  my  hero?"  and  was  thenceforth  associated  with 
all  the  small  peddling  of  training  days  throughout 
the  nation.  But  in  process  of  time  a  second  poet- 
aster furnished  to  the  same  silly  music  a  parody 
upon  the  parody,  in  the  shape  of  a  hymn :  and 
thenceforth  "  Saw  ye  not  my  Saviour?"  must  lie 


202 


Appendix. 


Mental  Associations. 


admitted  into  religious  circles,  with  its  double 
relish  of  amatoi-y  and  gingerbread  associations  ! 

In  circles  where  thei'e  is  cultivation,  however, 
the  influence  of  this  principle  will  be  manifest. 
The  finest  tunes  as  well  as  the  poorest  may  be 
supplied  with  unfavorable  associations.  Those 
which  have  been  too  frequently  connected  with 
drilling  exercises,  that  would  try  the  patience  of 
the  teacher  and  the  perseverance  of  his  pupils, 
will  necessarily  suggest  to  the  latter  thoughts  of 
weariness  and  feelings  of  lassitude  in  the  hours 
of  devotion.  Those  which  have  been  connected 
with  thoughtless  indifference,  or  levity,  or  social 
amusement,  will  in  seasons  of  worship  call  forth 
other  emotions  than  those  of  a  devotional  nature ; 
and  the  same  is  true  of  tunes  which  in  practice 
have  generally  excited  no  better  feelings  than 
those  of  musical  exhilaration.  The  kindred  mel- 
ody is  sure  in  such  cases,  to  bring  back  its  scenes, 
its  pleasures,  its  pains,  or  its  levities,  with  suffi- 
cient vividness  to  hinder  meditation,  and  dimin- 
ish if  not  destroy  religious  enjoyment.  This  is 
doubtless  the  reason  why,  in  seasons  of  special 
religious  interest,  recourse  has  been  so  often  had 
to  tunes  which  to  every  cultivated  ear  seem  so 
strangely  inappropriate.  To  the  mind  of  those 
who  introduce  them,  they  convey  no  irrelevant 
associations ;  while  the  current  psalm  and  hymn 
tunes  are  strongly  identified  with  ideas  of  impa- 
tience, dullness,  languor  or  formality,  or  perhaps 
with  sentiments  of  unseasonable  exhilaration. 
The  change  brings  relief  and  enjoyment  to  the 


Appendix. 


203 


Mental  Associations. 


innovators  ;  but  to  those  who  have  discrimination, 
only  that  which  is  irrelevant  and  disgusting. 

On  the  other  hand,  amateur  and  practical  mu- 
sicians of  the  secular  school  have,  in  regard  to 
devotional  music,  unfavorable  associations,  Avhich 
they  themselves  are  the  last  to  discover.  The 
strongest  appeals  from  the  art  to  which  they  have 
been  accustomed  to  respond,  are  those  which  arise 
fi-om  imaginative  personation.  The  pathos,  beauty, 
or  sublimity  which  they  habitually  recognize, 
even  in  religious  pieces,  is  at  best  but  the  oflF- 
spring  of  tasteful  sentimentality,  held  out  to  the 
listener  for  the  purpose  of  braving  his  censure  or 
extorting  his  commendation.  ^Vhen  under  the 
influence  of  such  habits  the  intelligent  Christian 
comes  into  the  solemn  place  of  worship,  where 
the  pure  affections  of  the  heart  are  to  be  drawn 
forth,  he  feels  the  need  of  an  entirely  different 
class  of  associations  to  aid  him  in  his  devotions. 
And  he  feels  this  the  more  deeply  in  proportion 
to  the  depth  of  his  religious  experience.  His 
cherished  habits  of  musical  enjoyment  are  now 
against  him.  The  enchantments  of  harmony  and 
rhythm  and  melody  and  executional  display  which 
in  other  circumstances  would  awaken  enthusiasm, 
would  now  be  impertinent  and  mischievous,  and 
he  flies  to  the  other  extreme  for  relief.  He  re- 
quires only  a  few  plain  harmonic  combinations, 
almost  without  rhythm,  and  with  melody  so  re- 
duced, subdued,  and  chastened,  as  to  make  little 
impression  upon  the  mass  of  the  community ;  and 
this,  judging  from  his  own  peculiar  experience, 
he  very  naturally  mistakes  for  the  suggestions  of 


204 


Appendix. 


Mental  AssociatioDSb 


refined  taste  and  critical  discrimination.  But 
others,  who  will  have  formed  different  habits  and 
dissimilar  associations,  Avill,  with  just  as  good 
reason,  dissent  from  his  decisions. 

Now  there  is  an  obvious  remedy  for  the  evils 
to  which  we  have  alluded,  a  remedy  which  is  full 
and  efficient.  It  is  found  in  a  rectified  applica- 
tion of  the  very  principle  which  produces  them. 
Let  all  the  kindred  melodies  of  religious  music 
which  are  worthy  of  the  name,  l)e  supplied  in 
practice  with  relevant  associations.  Let  music 
for  ordinary  religious  occasions  be  cultivated  in 
connection  with  that  kind  of  Christian  influence 
which  it  will  be  required  to  exert  in  the  house  of 
worship,  and  it  will  be  found  to  do  its  proper 
office.  Let  revival  songs  be  cultivated  in  a  re- 
vival spirit,  and  the  occasion  for  mal-adapt<ition 
will  have  been  removed.  And  finally,  let  Chris- 
tians who  have  been  long  subjected  to  secular  as- 
sociations, so  far  relinquish  their  former  habits, 
as  to  pursue  the  practice  of  religious  song  under 
the  full  influence  of  a  devotional  sj)irit.  This  in 
due  time  will  supply  them  with  new  iissociations 
and  new  inferences  with  regard  to  style.  The 
principle  in  question  is  as  powerful  as  it  is  simple. 
It  operates  almost  with  the  force  of  instinct.  It 
never  mistakes  its  end.  The  cultivators  of  devo- 
tional song  therefore  should  remember  that  what 
they  sow  in  this  respect  they  will  assuredly  reap. 
Especially  if  in  such  a  field  as  this  they  persist 
in  sowing  tares,  must  they  make  up  their  mind 
to  receive  tares  as  the  fruit  of  their  labors. 
Christian  Avorshipers,  who  will  not  be  persuaded 


APPENDIJt. 


205 


Mental  Associations. 


to  connect  devotional  habits  and  associations  with 
the  i)ractice  of  devotional  music,  will  be  as  sure 
to  have  irrelevant  thoughts  and  feelings  in  the 
house  of  God,  as  if  thej  had  been  negligent  of 
religious  influences  in  connection  with  prayer. 
How  can  such  persons  fail  to  see  that  the  oblation 
they  are  olTei  ing  is  as  empty  as  the  idle  winds ! 
"  Take  thou  away  from  me  the  noise  of  thy  songs," 
says  the  prophet,  "for  I  will  not  hear  the  melody 
of  thy  viols." 

We  have  spoken  of  a  full  and  efficient  remedy  ; 
but  how  is  it  to  be  applied  ?  Public  sentiment  is 
dilatory  in  its  operations,  and  the  teacher  is  called 
into  immediate  action.  Here  is  a  difficulty  which 
demands  affi^ctionate  forbearance  and  patient  ap- 
plication. Let  the  teacher  be  right  himself,  and 
he  will  be  likely  to  exert  the  required  influence 
upon  others.  If  in  the  religious  revival  he  is 
sometimes  saluted  with  a  parody  upon  "  Mol 
Brook,"  or  "  Auld  Lang  Syne,"  let  him  not  com- 
plain, but  bow  his  head  in  seci'et  prayer  till  the 
agony  is  over.  If  a  favorite  tune  has  been  spoiled 
by  wrong  associations,  let  him  drop  it  and  try 
another  in  connection  with  better  influences ;  and 
if  the  fastidious  amateur  is  ready  to  make  undue 
accusations  of  deficiency  in  refinement,  let  him 
bear  it  patiently.  There  will  be  no  use  in  mur- 
muring. In  these  minor  mattei'S  let  him  become 
in  some  sense  "  all  things  to  all  men,"  but  let  him 
hold  on  to  the  great  leading  principle  of  exerting 
religious  influences;  and,  by  the  blessing  of  God 
his  labors  will  not  be  in  vain.  New  associations 
will  be  gradually  forming,  and  in  proportion 
J8 


206 


Appendix. 


Ill-ordered  Khapsody. 


as  these  prevail,  the  difficulties  will  be  obvi- 
ated. 

But  what  shall  be  said  of  the  management  of  a 
teacher  whose  whole  manner  is  adverse  to  re- 
ligious influences  ?  who  neglects  discipline,  or  ex- 
ercises it  with  irritating  severity;  who  at  one 
moment  chafes  the  mind  of  his  pupils  by  the  indulg- 
ence of  peevishness,  and  at  another  seeks  to  allay 
irritation  by  sallies  of  wit  or  efforts  at  pleasantry  ; 
whose  whole  mind  is  a  tempest  of  conflicting  emo- 
tions, and  these  at  variance  with  the  spirit  of  the 
consecrated  themes  ? 

ILL-ORDERED  RHAPSODY  OP  THE  MASTERS. 

The  attention  of  choirs  is  not  confined  to  psalm- 
ody. Sacred  themes  have  been  extensively 
employed  as  the  bases  of  solos,  duetts,  trios, 
quartettes,  choruses,  sentences,  collects,  anthems, 
motets,  cantatas,  and  oratorios,  and  all  this  osten- 
sibly, for  the  purpose  of  illustrating  and  enforcing 
their  meaning.  Yet  many  of  these  pieces,  em- 
bracing much  musical  talent,  are  very  far  from 
being  devotional  in  their  tendency :  others  will 
prove  so  only  in  circumstances  favorable  to  the 
design  of  the  piece :  and  others  still,  only  when 
they  can  secure  a  specific  class  of  hearers,  and  a 
corresponding  style  of  execution.  These  distinc- 
tions, important  as  they  are,  have,  for  the  most 
part,  been  imperfectly  understood.  They  do  not 
generally  appear  in  the  title  of  the  piece,  or  the 
peculiar  texture  of  the  composition ;  nor  yet  in 
the  amount  of  interest  which  the  music  is  found 


Appendix. 


207 


Ill-ordei-ed  Ehapsody. 


to  secure.  Indeed,  some  of  the  most  ingenious  and 
fascinating  pieces  which  can  be  named,  are,  of  all 
others,  the  furthest  removed  from  a  true  devotion- 
al tendency. 

A  single  example  may  here  serve  as  an  illus- 
tration. That  favorite  theme  of  the  great  masters, 
"  Glory  be  to  God  on  high,"  &c.,  when  effective- 
ly uttered  with  Christian  feeling,  in  the  music  of 
some  appropriate  chant  or  psalmodic  strain,  is  felt 
to  be  devotional.  Also,  when  it  forms  the  subject 
of  a  short  anthem  which  neither  surprises  us  by 
its  novelty,  nor  fascinates  us  by  its  musical  attrac- 
tions, we  may  receive  from  it  the  same  appeal. 
And  in  places  where  there  is  much  taste  and  cul- 
tivation, or  on  occasions  of  special  interest,  or 
among  denominations  of  worshipers  accustomed 
to  loud  exclamations  and  responses,  such  an  an- 
them might  possess  more  musical  attractions,  with- 
out hazarding  the  loss  of  its  devotional  character. 
But  when  the  same  theme  is  made  the  basis  of 
such  rich,  elaborate,  vehement,  enthusiastic  sti'ains 
as  Haydn  or  Beethoven  often  apply  to  it  in  mass- 
es for  the  Catholic  service,  we  feel  at  once  the 
presence  of  another  class  of  influences.  The  per- 
formers are  no  longer  the  simple-hearted  worship- 
ers as  before ;  for  their  attention  is  engrossed  by 
the  details  of  execution,  and  misled  by  the  fas- 
cination of  the  music.  The  composer  himself, 
perchance,  had  been  no  better  employed  when  he 
produced  the  piece.  He  was  a,  mere  personator  of 
religious  worship,  and  mistook  the  nature  of  exper- 
imental religion  ;  or,  what  seems  most  probable,  ho 
regarded  himself  in  the  light  of  a  grand,  moral 


208 


Appendix. 


m-ordered  Ehapsody. 


painter.  The  worshipers  were  sitting  for  the 
canvas,  and  he  could  flatter  them  at  his  pleasure. 
He  could  make  them  as  frantic  as  he  chose  in 
their  devotions,  without  involving  in  his  own  prop- 
er person  any  real  commitment  of  soul.  He  could 
fill  them  with  all  the  vehemence  of  military  en- 
thusiasm, or  the  wild  uproar  of  an  infuriated  mob, 
without  appearing,  in  the  eye  of  ordinary  observ- 
ation, to  surpass  the  limits  of  scenic  propriety. 
That  which  in  oratory  would  be  censured  as  •  ■  over- 
stepping the  modesty  of  nature,''  or  stigmatized  as 
sheer  rant  or  fanaticism,  must  here  be  regarded  as 
the  ''fine  frenzy'"  of  the  artist:  and  if  there  is 
really  more  of  the  spirit  of  earth  than  of  heavfen 
in  the  composition,  the  circumstance  Avill  scarcely 
be  noticed  in  the  presence  of  so  much  that  is 
' '  divine' '  in  the  music.  The  music  is  so  grand, 
so  imposing  in  its  character — so  learned,  so  full 
of  genius — so  exhilarating,  and  at  times  even  play- 
ful in  its  character — who  can  help  admiring  it ! 
It  is  the  composition  of  a  gi'eat  master,  powerful- 
ly applied  to  sacred  words ;  and  is  found  suscep- 
tible of  strong  effects.  This  sufiices  for  the 
generality  of  executants ;  and  were  one  to  raise  a 
single  doubt  as  to  the  religious  tendencies  of 
such  protluctions,  he  would  be  regarded,  in  some 
(.quarters,  as  worse  than  a  musical  heretic. 

But  we  have  counted  well  the  cost.  We  are 
willinji  to  brave  all  censure  of  this  kind,  and  ex- 
press  our  deepest  conviction,  that  the  frequent  and 
habitual  application  of  such  noisy  and  exhilarat- 
ing movements  to  sacred  themes,  has  of  necessity 
with  respect  to  most  minds  a  desecrating  tendency. 


Appendix. 

Tunes. 


209 


amounting  iu  thousands  of  instances  to  the  sin  of 
profanation  !  Iu  saying  this,  we  know  that  we 
speak  the  experience  of  multitudes  who  feel  the 
evil,  without  sufficiently  apprehending  the  cause. 
Every  inviting  theme  is  liahle  to  the  same  species 
of  abuse — and  there  is  therefore  the  most  urgent 
necessity  of  enlightened  discrimination.  Public 
concerts  and  oratorios  as  usually  conducted,  will  not 
supply  the  desideratum,  or  lessen  the  existing  evil. 
While  sacred  themes  habitually  are  made  th^ 
mere  pretext  of  musical  enjoyment  or  display, 
they  will,  of  necessity,  be  abused :  but  when  they 
are  carefully  taken  up  in  a  truly  Christian  spirit, 
and  the  nmsic  is  applied  to  them  for  legitimate  pur- 
poses, it  will  be  easy  to  discover,  by  actual  experi- 
ment, what  strains  of  music  can  best  illustrate  and 
enforce  their  meaning.  The  diflference  between  mu- 
sical rhapsody  and  devotional  song,  is  as  great  as 
that  Avhich  distinguishes  poetic  enthusiasm  from 
the  pure  love  of  religion :  but  an  adequate  knowl- 
edge of  this  difference  will  be  gained  only  by  ex- 
perience, where  the  cii'cumstauces  are  favoi-able. 

DISCRIMINATION  IN  PSALMODY. 

Among  the  current  psalm  and  hymn  tunes  there 
are  endless  diversities  which  pass  unnoticed  by 
the  ordinary  observer :  but  which  are  of  great  ac- 
count in  the  true  process  of  adaptation.  To  those 
who  haA'e  paid  little  attention  to  this  subject,  such 
tunes,  for  example,  as  Old  Hundred,  Luther's 
Hymn,  Winchester,  London,  St.  Ann's,  &c.,  pre- 
serving a  similar  appearance  in  notation,  will  be 
18* 


Appendix. 

Singing  in  Families. 


regarded  as  possessing  an  almost  entire  uniformity 
of  character :  while  to  the  better  informed,  every 
good  tune  in  the  catalogue  will  be  seen  to  possess 
its  own  distinctive  attributes  ;  and  no  two,  per- 
haps, among  the  whole  would  be  regarded  as 
equally  appropriate  to  the  same  psalm  or  hymn. 

The  kind  of  dLscrimination  here  referred  to  is 
of  great  importance  to  the  interests  of  church 
music.  When  it  is  wanting,  a  psalm  or  hymn, 
though  sung  in  a  faultless  manner,  will  often,  as 
by  mechanical  necessity,  be  deprived  of  its  pe- 
culiar interest :  while  to  the  singers  and  to  the 
congregation  at  large,  the  real  cause  of  failure 
will  not  be  suspected.  But  this  discrimination  is 
the  result;  not  so  much  of  genius  or  native  sus- 
ceptibility, as  of  practical  observation.  It  is  gained 
by  actual  experience  of  r^ults  where  circum- 
stances are  favorable:  and  never,  perhaps,  in  a 
solitary  instance,  in  schools  where  religious  music 
is  cultivated  in  connection  with  irrelevant  associa- 
tions. Unless  our  general  position  in  favor  of 
devotional  influences,  therefore,  is  to  be  sustained, 
we  must  make  up  our  mind  to  forego  in  psalmody, 
all  that  is  sweet  and  hallowed  and  delightful  in 
musical  adaptation.  The  generality  of  teachers 
and  leaders  will  remain,  in  this  respect,  what  we 
now  find  them,  as  destitute  of  delicate  discrimina- 
tion, almost,  as  if  natiu-e  had  denied  them  all 
power  of  conception. 

SINGIXG  IX  FAMILY  WORSHIP. 

Devotional  singing  in  the  family,  exerts  a 
happy  influence  upon  the  piety  of  a  Christian 


A  P  P  E  X  D  I  X 


211 


Singing  in  Families. 


household.  We  refer  not  here  to  mere  excellence 
in  music :  that  may  be  found  where  there  is  no 
devotion.  But  ^ here  is  such  a  thing  as  the  utter- 
ance of  some  chosen  hymn,  with  the  mind  fi.ved 
upon  Go{^l  and  Divine  things,  while  devotion 
kindles  into  a  sweet  and  heavenly  flame.  The 
mind  thus  expresses  itself  with  emotional  energy, 
while  the  music  adds  jwwer  to  the  sentiment,  and 
the  sentiment  adds  sweetness  to  the  music. 

Mere  musical  practice,  however  conducted,  is  a 
different  thing.  Such  familiar  lines,  for  example 
as 

"  Lord,  thou  wilt  hear  me  when  I  pray ; 
I  am  forever  thine,"' 

may.  while  sung  as  a  lesson  to  some  plain  tune, 
appear  quite  common-place  and  deficient  in  inter- 
est. But  how  full  of  meaning  are  they,  when  the 
heart  seizes  upon  them  in  the  act  of  solemn  wor- 
ship !  Then  they  imply  entire  confidence  in  a 
prayer-hearing  Goil.  to  whose  service  the  soul  is 
irrevocably  and  forever  devoted.  !Many  a  familiar 
hymn  is  full  of  meaning.  The  mind  should 
fix  upon  it :  the  heart  should  be  schooled  in  rela- 
tion to  it.  till  we  can  make  it  our  own  in  the  sin- 
cere utterance  of  devotion.  Such  a  practice,  under 
the  Divine  blessing,  would  not  foil  to  increase  our 
piety,  and  add  interest  to  family  worship. 

Primitive  Christians  tmderstood  this  subject ; 
the  Reformers  understood  it.  and  in  their  days, 
whole  villages,  at  morning  and  at  evenincr.  would 
become  vocal  with  hymns  of  praise.  Similar 
scenes  have  been  occasionally  witnessed  in  later 
times.    ^^^lereTer  such  a  practice  has  prevailed. 


212 


Appendix. 


SingiDg  in  Families. 


its  influence  has  been  felt  and  acknowledged.  It 
is  a  sweet  source  of  comfort  and  of  edification. 
This  affectionate  union  of  hearts  and  voices  within 
the  family  circle,  has  seemed  like  "heaven  begun 
below."  Its  advantages  are  manifold:  it  is  one 
of  the  best  remedies  against  dullness  and  formali- 
ty ;  it  is  a  check  upon  wandering  thoughts  and 
unseasonable  emotions  ;  and  it  sheds  a  hallowed 
influence  upon  the  reading  of  the  Scriptures,  and 
upon  our  supplications  and  acknowledgments  in 
the  exercise  of  prayer.  So  many  advantages 
ought  not  to  be  lost.  In  a  world  like  ours,  and 
at  a  period  like  the  present,  we  need  every  help 
against  the  strong  tendencies  to  religious  declen- 
sion. Activities  in  social  life  are  not  diminishing ; 
the  spirit  of  enterprise  is  awake;  claims  of  bus- 
iness are  becoming  more  urgent :  and  temptations 
to  worldliuess  are  waxing  strono-er  and  stronger. 
Here,  however,  is  one  of  the  methods  Divinely 
constituted,  which  may  assist  us  against  every  en- 
tanglement. 

Some  of  its  advantages  are  peculiar.  Selec- 
tions of  Scripture  are  too  often  ill-chosen,  or  i-esid 
indiffe  ently,  or  too  rapidly  to  be  appreciated. 
Our  voluntary  language  in  prayer  often  becomes 
the  index  of  comparative  indifference.  But  tlie 
sweet  themes  of  inspii-ation,  as  they  flow  in  song 
with  measured  accents  from  our  lips,  will  bear 
testimony  against  us,  if  we  are  not  sufiicicntly 
spiritual  to  make  them  really  our  own  in  the 
presence  of  Omniscience.  They  thus  may,  in  the 
apostolic  sense,  become  our  daily  teachor.-i  and  ad- 
monishers. 


Appendix. 


213 


Singing  in  Families. 


The  practice  we  are  recommending  has  still 
other  advantages.  It  -will  of  necessity  lead  us  to 
acquire  some  measure  of  musical  knowledge ;  for 
otherwise  our  singing  would  be  comparatively  in- 
effective. With  a  little  instruction,  all  the  young- 
er members  of  a  fomily  would  learn  to  unite  in 
the  songs  of  praise.  The  influence  would  soon 
extend  itself,  and  the  hallowed  sentimentalities 
thus  clustering  arouTid  the  domestic  altar  would 
accompany  us  to  the  house  of  God,  and  add  sweet- 
ness, solemnity,  and  spirituality  to  our  vocal  ut- 
terances in  the  congregation.  Habit  has  great 
influence  upon  our  devotions  ;  and  lips  which  are 
perpetually  sealed  at  home,  will  seldom  be  opened 
to  much  purpose  in  the  solemn  assembly. 

What  has  occasioned  such  an  extensive  neglect 
of  singing  in  family  worship  ?  and  what  can  be 
done  to  revive  the  practice  ?  To  have  shown  the 
importance  of  the  duty,  or  the  preciousness  of  the 
privilege,  will  be  of  little  service,  unless  we  go  a 
step  further,  and  point  out  the  cause  and  the  rem- 
edy for  this  neglect. 

1.  We  might  refer  to  the  general  neglect  of  the 
study  of  music  in  Christian  families.  Music  has 
not  been  made  a  general  branch  of  religious  edu- 
cation. More  attention  is  now  paid  to  it  than  for- 
merly, yet  we  do  not  witness,  as  might  be  expect- 
ed, a  corresponding  i-evival  of  the  practice  we  are 
considering.  The  question  reaches  further  back, 
Why  has  there  been  such  a  general  neglect  of 
musical  knowledge  ? 

2.  We  might  refer  to  the  general  error  as  to 
musical  capabilities;  for  the  want  of  physical  pow- 


214 


A  P  P  B  X  I)  T  X . 


Singing  in  Families 


ers  discourages  effort,  and  annihilates  obligation. 
But  how  came  this  error  to  prevail  ?  It  could  not 
have  arisen  in  times  of  culture,  against  the  dic- 
tates of  practical  experience.  It  did  not  always 
exist;  it  is  comparatively  a  modern  prejudice. 
And  further,  since  much  has  been  done  of  late  for 
the  removal  of  this  error,  why  is  it  so  slow  to 
yield?  and  even  where  it  has  been  abandoned, 
why  do  we  not  witness  a  corresponding  change  of 
practice  ? 

3.  We  might  also  refer  to  the  defective  experi- 
ence of  Christians  in  this  matter.  Reading  of  the 
Scriptures,  and  prayer,  and  religious  conversation, 
all  are  profitable  exercises,  and  have  an  enlivening 
tendency ;  but  praise,  when  uttered  in  song,  often 
seems  to  savor  of  dullness  or  formality.  Hymns, 
too,  have  become  familiar  and  common-place. 
Tunes,  sung  indifferently,  have  a  deadening  influ- 
ence: or.  sung  skillfully,  attract  to  themselves 
the  attention  which  is  due  to  the  sentiment  of  the 
words.  Such  experiences  are  discouraging,  and 
excuses  are  easily  found  for  the  relinquishment 
of  a  practice  which  seems  detrimental  to  devo- 
tion. But  again,  we  must  look  further  back. 
What  has  been  the  cause  of  all  this  defective  ex- 
perience ?  And  why  docs  not  experience  improve 
with  the  general  increase  of  musical  cultivation  ? 
Great  changes  are  being  effected  in  the  public 
taste  for  music  ;  but  perhaps  the  practice  we  are 
advocating  was  never  less  prevalent  than  at  the 
present  time,  while  musical  conventions  are  being 
held  in  almost  every  portion  of  the  country. 

We  are  driven  to  the  conclusion,  therefore,  that 


A  P  P  E  X  D  I  X . 


215 


Singing  in  Fainili«5 


the  cause  for  which  we  are  seeking  is  to  be  found 
in  the  modern  methods  of  mtisiro/  cult irat ion. 
Music  was  designetl  by  the  Creator  as  a  nie-ans  to 
certain  important  ends,  and  should  be  cultivated 
with  strict  reference  to  those  ends,  whether  social, 
moral,  or  religious.  But  this  is  not  done.  Wit- 
ness our  schools,  rehearsals,  concerts,  oratorios, 
conventions.  Art  is  the  great  desideratum,  as 
ministering  to  the  pleasures  of  taste.  For  mere 
social  purjwses.  this  might  answer,  provided  the 
sentiments  excited  were  always  such  as  we  may 
innocently  cherish.  But  to  say  nothing  as  to  the 
frequent  violations  of  this  rule  in  social  gather- 
ings, and  on  public  occasions,  the  rule  in  the  cul- 
tivation of  devotional  singing  is.  and  has  been  for 
a  long  time,  extensively  disregarded. 

In  this  species  of  music,  the  mind  should  be 
trained  by  precepts,  by  examples,  and  by  its  own 
frecjuent.  unemb:\rrassed  efforts  to  fix  it^lf.  in  mo- 
ments of  devotion,  upon  the  great  object  of  Chris- 
tian worship,  and  upon  the  solemn  truths  and 
motives  of  our  holy  religion.  But  instead  of  it, 
instruction  usuallv  serves  to  confine  the  mind  rig- 
orously  to  the  details  of  art  and  the  sentimentali- 
ties of  taste.  The  mind  is  literally  bound,  and 
fettered,  and  drilled  into  this  servitude,  without 
being  allowed  to  break  loose  from  its  confine- 
ment till  the  unfortunate  habit  is  established. 

Go  almost  where  you  will,  and  the  same  gen- 
eral practice  is  manifest.  Even  where  religious 
principles  are  inculcatetl.  practice  is  at  variance 
with  them :  the  mind  is  pre-occupied  by  artistic 
considerations,  so  that  it  can  not  disentangle  itself. 


•216 


Appendix. 


Singing  in  Familirs. 


when  it  chooses  to  make  the  attempt.  Compara- 
tive insensibility  to  Divine  things,  and  formality 
in  exercises  of  praise,  inevitably  result  from  sucii 
instructions.  It  can  not  be  otherwise.  We  need 
look  no  further  for  the  cause  of  general  indiflfer- 
ence  to  the  claims  of  devotional  singing,  either  in 
the  family  or  elsewhere.  The  results  we  deplore 
are  just  such  as  ought  to  have  been  anticipated 
from  such  a  course  of  musical  training. 

If,  then,  we  would  see  the  right  influences  re- 
stored to  devotional  singing,  either  public  or  pri- 
vate, we  must  supply  the  only  remedy.  The  mind 
must  be  taught,  not  only  by  precepts  and  illustra- 
tions, the  nature  of  praise  as  a  religious  exercise, 
but  it  must  also  be  made,  by  constant  practical 
efforts,  capable  of  disentangling  itself  at  any  time 
from  the  trammels  of  art,  and  the  fascinations  of 
taste ;  while  in  the  act  of  singing  sweetly,  it  can 
employ  itself  in  heavenly  conteniplations. 


THF.  END. 


DATE  DUE 


GAYLORD 

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